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ARTIST
TITLE
Sensational
FORMAT
2LP

LABEL
CATALOG #
TER 084LP TER 084LP
GENRE
RELEASE DATE
11/19/2021

"Sensational -- that's Frank Hatchett! These words can be found on many of the 16 albums credited to the legendary jazz dancer, choreographer, and teacher to the stars. At the height of his fame in the 1980s, Hatchett's classes in New York City at the wildly popular Hines-Hatchett studio (now renamed the Broadway Dance Centre) attracted celebrities including Madonna, Brooke Shields, Olivia Newton-John, and Naomi Cambell. Though he hated flying, preferring to cruise in a Corvette from Massachusetts to Manhattan, each week saw Hatchett jet setting for classes and performances around the world. Despite his star power, Hatchett's signature 'Vop Style' -- emphasizing emotion and attitude over strict technique -- was made accessible to children, adults, and people from all walks of life. He was also known for forming personal bonds with his students through dance like Richard Simmons did with Sweatin' to the Oldies, Hatchett's role as a father figure inspired the nickname 'Papa Frank,' while Good Morning America dubbed him 'The Doctor of Jazz.' Hatchett's name and photos may appear on the sleeves of his records like Dance Crazy, Jazz Power, or Vop Style, but he is nowhere to be found in the music contained within. Instead, these albums dating back to 1974 were recorded by largely unknown studio players under the guidance of musical director Don Tipton or arranger Zane Mark. Performers include keyboardist Fred McFarlane (Madonna, Keith Sweat, Evelyn 'Champagne' King), drummer Bernard Davis (Steve Winwood, Ryuichi Sakamoto, Kool & The Gang), and actor Tamara Tunie, best known for her role as medical examiner Melinda Warner on Law & Order: Special Victims Unit . . . In the highlights compiled on this expansive double LP set, the sounds of Hatchett's albums run the gamut from disco and funk in the 1970s to electro and proto-techno as they glide through the '80s. Like many albums in the dance instruction genre, nearly one third of the songs are covers (Prince, Paul Hardcastle, Earth, Wind & Fire, Billy Cobham) and most clock in at a brisk 2:30 -- the ideal length for Hatchett's classes or his students' recital performances. Fans of library music will find a similar focus on immaculate performances, while the tightly coiled drum breaks, Afro-Cuban rhythms, and thumping 808s will send rare groove collectors into a state of head nodding bliss..." --Jesse Locke