Sorry I missed this thread earlier.
I'm using Noritsu dyes (which appear to be Claria but in large carts) in black and white inksets with very interesting results. See http://www.paulroark.com/BW-Info/4000-Noritsu-5K-Plus.pdf
for an explanation of the setup I used for an entire show this September, using a 17" roll of Red River Polar Pearl Metallic paper <http://www.redrivercatalog.com/browse/66lb-polar-pearl-metallic-inkjet-photo-paper.html> in an old Epson 4000 with a B&W dye inkset installed. While the prints don't show very well in fluorescent light (greenish), in other light sources, including the LEDs, they are spectacular -- really a unique medium for high impact, un-glazed display. For protection and preserving the unique look, the prints are sprayed with Lascaux fixativ (Print Shield interferes with the unique surface). I've also used the B&W dyes for cards with success, although Red River sadly stopped making the card stock.
Anyone with an Epson 1400 can get a good idea of what the results look like. While I made a dedicated B&W inkset for the 1400 <http://www.paulroark.com/BW-Info/1400-Claria-Noritsu-2K2LK.pdf>, I also made a QuadToneRip profile that does a very good job with the OEM inkset as is. See http://www.paulroark.com/BW-Info/1400-Claria-BW.pdf
As to longevity, part of the attraction of the dyes to me is that they are not in the same class as carbon pigments. That allows me to separate the markets, with a lower cost product for the walk-by wine tasters in my market (Los Olivos, CA), and a higher end carbon pigment print for the fine art types.
Mark at http://www.aardenburg-imaging.com/
has done some fade testing of "black only" Claria dyes. The one to take special note of is the black only print on Canson baryta that was sprayed with Print Shield. It leaps up into the color UltraChrome class. The dyes appear to react very strongly to protective sprays. As also noted, the dyes are probably more susceptible to paper variations. So, there are a lot of variables, but for cards and prints that are made to look the best and not necessarily last the longest (I call them "eye candy"), the dyes are a fascinating complement to our usual pigment processes. They are now sharing wall space in my office with the carbon prints, and I must say, I've never seen any medium that shows off my B&W files as well as the dyes on metallic paper.