This classic tap dance was frequently performed by the Copasetics, an ensemble of master tappers formed in 1949 in honor of Bill Robinson. The BS chorus was also performed on the Vaudeville circuit in the 1920s and 1930s, and is thought by tap dancer and historianMargaret Morisson to contain steps dating back to the 1800s. It contains four step sequenceswith breaks, is significantly more advanced than the also popular Shim Sham, and is oftendanced with improvisational breaks.

This slow tempo soft shoe was performed by Charles ‘Honi’ Coles (1911-1992) and Charles “Cholly” Atkins (1913-2003). Each successful and talented tap dancers individually, they formed the act Coles and Atkins and performed together after World War II. They were known for executing rapid and precise footwork, but in their version of the soft shoe danced to “Taking a Chance on Love,” they slow the tempo considerably, emphasizing precision, large sweeping movement, and being completely in sync with each other. As an aside- Coles was a mentor to Gene Medler, founder of the North Carolina Youth Tap Ensemble, and Atkins choreographed for many Motown artists (his Motown choreography classes were always so much fun!)

This dance was choreographed by Charles ‘Honi’ Coles (1911-1992) and was frequently performed as the opening of shows by the Copasetics, master tappers who formed an ensemble in 1949 in honor of Bill Robinson. The Coles’ Stroll is performed in circle, with a series of steps that progress in difficulty from a simple walk, to more complicated rhythmic and technical steps. This dance is still used to open shows by many dance companies, including the North Carolina Youth Tap Ensemble.

This original choreography by Bill “Bojangles” Robinson (1878-1949) was first performed in 1928 in the Broadway musical revue Blackbirds of 1928. This piece is swinging and upbeat, with classic steps showcasing Robinson’s style and rhythmic sensibility. Robinson is known for dancing on the balls of the feet, swinging rhythms, and technical precision. He was one of the first African American performers to dance solo in vaudeville during the time of the “two-colored rule” and broke many boundaries for African American performers. He had a long and successful career dancing in film and on Broadway, and mentored many tap dance greats.

Dorothy Wasserman, and active tap performer, choreographer and teacher for many years, created her own version of the classic Shim Sham in 1978, which was performed in the 1980s in New York and featured in the 1989 movie TAP starring Gregory Hines. It follows the classic 32 bar chorus structure and can be performed in polyrhythm with the Shim Sham.

Eddie Brown (1915-1992) created this piece in the 1980s and it is comprised of a series of intricate steps and rhythms representative of his particular style, dubbed “scientific rhythm.” Brown hopped a train from Nebraska to New York and began dancing at The Apollo Theater with the Bill Robinson Revue at age 18. He had a long career as a performer and teacher, from New York City to San Francisco to Los Angeles, and was known for precision and clarity.

Laura is a classic piece choreographed by James “Buster” Brown (1913-2002) and features fast footwork, syncopation, and building rhythms. Brown performed with Duke Ellington, Cab Calloway, in the Broadway show Black and Blue, and had a long career as a master tapper and teacher and promotor of the dance form. For many years he hosted a weekly tap jam at Swing 46 in NYC (one that I enjoyed attending!) and his generous spirit and support of tap dancers was known throughout the tap community.

Leon Collins (1922-1985) was a master tap dancer and teacher who created many tap routines, including the famous Routine #53, for showcasing and practicing tap steps and combinations. He performed with musical greats Count Basie, Tito Puente, and Jimmie Lunceford among others. After a break from tapping as work was slow, and pursuing music, then resorting cars, Collins began performing and teaching tap again, and in 1978 took over Stanley Brown’s dance studio, eventually creating the Leon Collins Dance Studio in Brookline, MA, and going on to mentor many dancers, including Dianne Walker. Walker, a tap master who has been instrumental in preserving the rich history and stories of the art form, has been especially active in preserving Collins’s legacy.

Carnell Lyons (1917-1992) choreographed this fast tap dance, which is traditionally performed acapella, and it has been preserved and passed down by Kurt Albert and Klaus Bleis, along with Lyons’ student Max Pollak. Lyons was a tap dancer from Kansas City who performed nationally and internationally, and in Paddle and Roll he incorporated steps from tap master Baby Laurence to create the upbeat, highly rhythmic series of steps of this routine.

The “national anthem” of tap dance and beloved by tappers everywhere, this routine was originally choreographed by Leonard Reed (1907-2004) and Willie Bryant (1908-1964) in 1927 when they were performing for the Whitman Sisters, and by the early 1930s was performed regularly in shows in Harlem. It was performed as the finale of shows as a dance that the entire cast could join, and is comprised of four tap step sequences with “breaks” in between. Today, the Shim Sham is still performed regularly as the finale to rhythm tap shows worldwide.