For the past 40 years or so, the best recorded
Ballroom dance music has come from dance bands in England
and Germany and, more recently, from Japan and Italy. In
the 1960s and earlier, it was the orchestras of Victor
Silvester and Joe Loss in England, and of Hugo Strasser
and Max Greger in Germany. Virtually all of these
recordings were instrumental and also strict tempo,
meaning that the band played at the proper tempo for the
particular dance and kept it steady for the duration of
the recording.
In the United States, many Big Bands played for
dancing, but only the Jack Hansen Orchestra in New York
played strict tempo and was the only one suitable for
dance competitions. These musicians played for both
Standard and Latin events at the annual U.S. Ballroom
Championships at the Waldorf-Astoria. Also they played for
the Standard events when the World Professional Dance
Championships were held for the first time in the United
States, in New York City, in 1973. The Machito Orchestra,
also a U.S. product, played for the Latin, although some
of its tempos seemed strange to the dancers from overseas.
For the other competitions in the United States, recorded
music was played by DJs such as George Chopourian in the
East and Joe and Bobbie Rodgers in the West.
In 1962 the newly formed Telemark Dance Records began
importing vinyl 45s and LPs from England (Victor Silvester
and Joe Loss) and somewhat later from Germany (Hugo
Strasser and Max Greger), and they began to replace
popular 45s and a few U.S. studio orchestras such as
Hoctor Records in dance schools and competitions. Soon
Telemark Records began to produce, under license from
British and German firms, 45s and LPs of British and
German bands. At about the same time, Jack Hansen's
orchestra began to record, and these recordings also
became popular.
Alas, in the mid-1970s, Jack Hansen committed suicide,
and his band, America's only strict-tempo orchestra, was
dissolved. After that, only recorded music was played at
U.S. Championships, by DJs Jack and Judy Hughes starting
in about 1980 and continuing to the present. The most
popular of the dance orchestras in U.S. studios during
this period was that of Gunter Noris of Germany, which was
called "The Big Band of the Bundeswehr."
In the early 80s, British Professional dancers began
using recordings of famous popular singers, American and
British, for their shows. Telemark Dance Records picked up
on this trend and, over the next few years, produced ten
singles, under license from record companies, in a Sing
and Dance Series. The artists were mostly British--the
Mike Sammes Singers, Vince Hill, and others. At about the
same time, DJs Jack and Judy Hughes began using vocals for
dance competitions, including those of Frank Sinatra.
Beginning with the 1990s, the European record companies
that had sprung up to produce dance records began to issue
an increasing number of vocal recordings. These found
their expression in collections of artists, among them
many Americans, by the German firms of Condor Musik and of
Casa Musica. Whereas, in the past, dancers would have to
buy a whole album to get one or two danceable tracks from
a vocal artist, they could now buy single albums with a
full complement of danceable tracks. For some reason, it
was easier for these German record companies to produce
collections of Nat King Cole, Doris Day, Connie Francis,
and others than it was for American dance record companies!
During the 90s, the popular dance band leaders of the
previous 30 years, such as Victor Silvester, Joe Loss,
Billy Ternent, Charles Barlow, and Ken Turner died, and
the bands either broke up or continued in the hands of
others--but in general they did not record. Electronic
music, which was cheaper by far to produce than that of
full-size orchestras, found its way into dance music. In
the United States, Thomas Bevans, using a synthesizer and
the occasional traditional musical instrument, pioneered
this trend with his Musica Caliente series, which
got a good reception outside the States--in England,
Germany, Italy, and Japan. Shortly thereafter, Andy
Fortuna, using a sound studio and musicians in
Philadelphia, launched his Latin Jam series, which
instantly became very popular worldwide. Dance Vision in
Las Vegas, owned by dance entrepreneur Wayne Eng, also has
entered this field recently. In Europe, one of the more
notable practitioners of this art is Face the Music Ltd.,
whose Starlight CD became a top seller in 1997.
Canada, too, has been actively producing dance
recordings in the past 20 years. Two of the three most
popular recording groups have disappeared, leaving Claude
Blouin, a studio orchestra that has issued 11 CDs. These
are very popular in dance schools for their moderate
tempo, appealing tunes, and a clear, steady beat, and they
are especially good for teaching beginners and at dance
parties.
In the new millennium, it is the new dance media that
are the most popular, forging ahead of the German
orchestras (Max Greger, who is still recording, and the
no-longer-recording Werner Tauber and Hugo Strasser), the
British bands of Tony Evans and Ross Mitchell (the latter,
with a full orchestra and four singers, plays for the top
British competitions and continues to record regularly),
and Hiroko Sudou and the New Downbeats Orchestra of Japan,
which has not issued a new recording in years but whose
older recordings, all instrumentals, still generate a
modest demand.
Many of the better CDs by most of the musical groups
discussed above are included in our catalog. We have
listened to and evaluated all of them and have left out
those with no redeeming features. If you have any
questions about any of this music, especially about their
suitability for particular ability levels, please send
e-mail to us at telemark@telemarkmusic.biz,
leave a voice mail message at Phone: (301) 445-4366
(Maryland) OR Phone: (858) 487-8316 (California) or, if
you still write letters, contact us at
Telemark Dance Records
708 Whitaker Ter
Silver Spring, MD 20901