At the New
Frederick P. Rose Hall
Rose Theater
Time/Warner Center
Featuring Lincoln Center Jazz Orchestra
New York City Ballet
Charles McPherson
Garth Fagan Dance
Joe Chambers and Nommo
Savion Glover

Lincoln Center Jazz Orchestra
Wynton Marsalis, Music Director
Wynton Marsalis, Trumpet
Sean Jones, Trumpet
Ryan Kisor, Trumpet
Marcus Printup, Trumpet
Ron Westray, Trombone
Andre Hayward, Trombone
Vincent R. Gardner, Trombone
Max Siegel, Bass Trombone
Wess "Warmdaddy" Anderson, Alto and Soprano Sax
Ted Nash, Alto Sax, Clarinet, Flute, Piccolo
Walter Blanding, Jr., Tenor and Soprano Sax, Clarinet
Victor Goines, Tenor and Soprano Sax, Bass Clarinet
Joe Temperley, Baritone and Soprano Sax, Bass Clarinet
Eric Lewis, Piano
Carlos Henriquez, Bass
Herlin Riley, Drums

Special Guest: Joe Chambers and Nommo
Joe Chambers, Percussion
Warren Smith, Percussion
Jaz Sawyer, Percussion
Eric Person, Reeds
Emanuel Rueffler, Keyboards
Rashan Carter, Bass

Scott Thompson, Press

Dance Staff: 
Streb: Elizabeth Streb, Action Architect; Terry Dean Bartlett, Assoc. Artistic Director; Michael Casselli, Set Designer; Heather Carson, Lighting Design; David Taylor, Tech. Director

Garth Fagan Dance: CT Oakes, Lighting Designer; 
Bets Quackenbush, Production Manager

Dr. Roberta E. Zlokower
November 3, 2004
Originally Published on

Gauntlet (2004): With Streb - Christine Chen, Aaron Henderson, Deeann Nelson, Jonah Spear, Fabio Tavares, Musicians: Joe Chambers and Nommo, Choreography by Elizabeth Streb, Music Composed by Joe Chambers. (See Streb Website). (See More on Joe Chambers).

Gauntlet was one of my favorite pieces tonight, just for its sheer ingenuity and daring. The sounds of Afro-Caribbean drums from the pit soon introduced an enormous construction onstage with swinging blocks of concrete intended as obstacles for the five gymnastic dancers. Joe Chambers' not only composed this music, but he also performed on percussion with his group, called Nommo (6 musicians, see above). Precise leaps, falls, jumps, and landings were executed, military style. Verbal cues, coordinated by the muscular dancers, themselves, in black and white unitards, prevented rotating dancers from colliding with the life-threatening concrete blocks, swinging like pendulums.

In addition, fascinating lighting emanating from the dancers allowed for a Venn Diagram and other geometric figures to evolve against the rear wall. In fact, when the caller shouted, "Venn Diagram", the dance figures and colored lights began to emerge. At times two dancers seemed to collide, but purposefully, as they then avoided the approaching blocks. This company should be seen more often, as it's concept is so unique and mesmerizing. It's a shame that Joe Chambers and Nommo were hidden from view, as the vision of musicians and drums would have added to the live-action genre.