TANZA

TANZA was an early New Zealand recording and record-manufacturing label established by Radio Corporation of New Zealand Limited (RCNZ). Its name was formed from the phrase “To Assist New Zealand Artists,” expressing the company’s ambition to create a domestic recording infrastructure and give local performers access to locally produced records. Active from 1949 to 1956, TANZA is generally regarded as New Zealand’s first company to record and manufacture records within the country. The label emerged from RCNZ’s existing radio business. RCNZ manufactured Columbus and Courtenay radios and radiograms and distributed them through a network of Columbus Radio Centre outlets. After the death of founder and managing director William Markov, known as W. Marks, in 1946, his son Alex became managing director. The company’s directors and executives then looked for opportunities beyond radio manufacture. Recording was selected as a potential new business, initially with a strong commercial emphasis on producing advertising material for radio stations. RCNZ production manager Fred Green approached Stan Dallas, who was then associated with Wellington radio station 2ZB, to establish a recording studio. Bart Fortune, RCNZ’s sales and marketing manager, devised the TANZA name. The principal studio was created in a former brass foundry at 262 Wakefield Street, Wellington, close to RCNZ’s head office and factory at 80 Courtenay Place. The premises were converted into recording facilities containing a large studio, two smaller studios and a control room. A pressing plant was subsequently installed on the first floor, equipped with three record presses. Recordings in Auckland were made at Astor studio in Shortland Street, with engineer Noel Peach involved in that work. The company’s move into pressing was accelerated after an arrangement under which His Master’s Voice (New Zealand) supplied records to some Columbus shops was cancelled in 1948. RCNZ began by pressing records from stampers supplied by the Australian Record Company and soon progressed to processing its own original recordings. TANZA’s first major release was “Blue Smoke,” performed by Pixie Williams with the Ruru Karaitiana Quintette. Although the label carried a recording date of 3 October 1948, the recording was made in February 1949 and released around March or April of that year. It became a landmark domestic recording and reportedly sold more than 50,000 copies. TANZA’s catalogue included popular music, dance-band material, jazz and other recordings by New Zealand performers. Artists associated with the label included Ken Avery, the Tumbleweeds, the Star Dusters, Pat McMinn, Esme Stephens, Crombie Murdoch and Mavis Rivers. The label’s second release was Ken Avery’s “Paekakariki: The Land of the Tiki.” Alongside commercial releases, TANZA maintained its original advertising business, producing thousands of single-sided discs for radio use. Approximately 4,250 advertising discs were made during the seven years in which the studios operated, averaging about twelve per week. Most TANZA releases were 78 revolutions-per-minute records. The operation also produced a smaller number of 45 rpm records, extended-play records and long-playing records after those formats became available. Surviving catalogue summaries identify roughly 300 78s, excluding private recordings, together with 31 45 rpm releases, including five EPs, and four LPs comprising three 10-inch and one 12-inch disc. These figures illustrate both the scale and the transitional nature of the business as New Zealand moved from shellac-era 78s toward vinyl formats. TANZA ceased operating as a label and studio operation in 1956. RCNZ was acquired by PYE Industries of Auckland around 1958, while the Wellington studio was purchased by His Master’s Voice New Zealand, later EMI New Zealand, in 1962. Although short-lived, TANZA occupies an important place in New Zealand music history because it combined recording, pressing, advertising production and retail distribution in a domestically controlled operation. Its releases, especially “Blue Smoke,” are frequently treated as foundational documents of New Zealand’s recorded popular-music history.

TANZA developed from the diversification strategy of Radio Corporation of New Zealand Limited, a company best known for manufacturing Columbus and Courtenay radios and radiograms. Its retail network consisted of Columbus Radio Centre outlets, and the company had previously relied on an arrangement with His Master’s Voice New Zealand to supply records to selected stores. When that arrangement ended in 1948, RCNZ had an additional incentive to establish its own pressing capability. The recording venture was initially conceived around commercial audio production. RCNZ production manager Fred Green engaged Stan Dallas, associated with Wellington station 2ZB, to create a studio capable of recording advertising material for radio. The operation was located at 262 Wakefield Street in a converted former brass foundry near RCNZ’s Courtenay Place facilities. The building was cleared and adapted to contain a principal studio, two smaller studios and a central control room. A pressing plant with three presses was later installed on the first floor. Auckland work was undertaken at Astor studio in Shortland Street with engineer Noel Peach. The TANZA name was created by RCNZ sales and marketing manager Bart Fortune and represented “To Assist New Zealand Artists.” The label’s first record was “Blue Smoke,” associated with Pixie Williams and the Ruru Karaitiana Quintette. The recording date printed on the label differs from the date identified in historical accounts: the disc indicates 3 October 1948, while the recording is described as having been made in February 1949 and released around March or April. Its reported sales of more than 50,000 copies made it a major early success for a domestic New Zealand label. TANZA initially relied on stampers supplied by the Australian Record Company, but by early 1949 it was able to process its own original recordings. The label produced mainly 78 rpm records, while later releases included 45 rpm records, EPs and LPs. Its catalogue included recordings by Ken Avery, the Tumbleweeds, the Star Dusters, Pat McMinn, Esme Stephens, Crombie Murdoch and Mavis Rivers, among others. Ken Avery’s “Paekakariki: The Land of the Tiki” was identified as the second TANZA release. The studio’s advertising work was a substantial part of the enterprise. Over the approximately seven years during which the TANZA studios operated, about 4,250 single-sided advertising discs were produced for distribution to radio stations. This output, averaging roughly twelve discs per week, gave the business a commercial base beyond the comparatively smaller market for artist records. Staff and collaborators included studio manager and engineer Stan Dallas, his initial assistant John Shears, pressing manager Tony Hall, copyright and marketing personnel John Shears and Jack Christie, assistant Terry Petersen, studio assistant Tony Small and processing worker Graeme Thompson. TANZA ended its operations in 1956. RCNZ was acquired by PYE Industries of Auckland around 1958, and the Wellington studio was later purchased by His Master’s Voice New Zealand, subsequently EMI New Zealand, in 1962. The label’s direct commercial life was therefore limited, but its historical significance is considerable: it helped establish local recording, pressing and advertising production in New Zealand at a time when much recorded music was imported. The surviving catalogue and the continuing reputation of “Blue Smoke” place TANZA among the foundational institutions of New Zealand’s recorded-music industry.

• 1956

  Operations end

  [1]TANZAen.wikipedia.org

  TANZA’s label and studio activities cease after roughly seven years.

• 1952

  TANZA adds 45 rpm and LP formats

  [1]TANZAen.wikipedia.org

  The label broadens its predominantly 78 rpm output with 45 rpm records and long-playing records.

• 1949

  TANZA launches

  [1]TANZAen.wikipedia.org

  RCNZ begins domestic recording and record production under the TANZA name, commonly expanded as “To Assist New Zealand Artists.”

• 1949

  Blue Smoke is released

  [1]TANZAen.wikipedia.org

  The Pixie Williams and Ruru Karaitiana Quintette recording becomes TANZA’s signature early release and a landmark in New Zealand popular music.

• 1948

  RCNZ moves toward independent record pressing

  [1]TANZAen.wikipedia.org

  The cancellation of an external record-supply arrangement encouraged RCNZ to establish its own pressing plant and use stampers supplied by the Australian Record Company.

• 1946

  Alex Marks succeeds W. Marks at RCNZ

  [1]TANZAen.wikipedia.org

  After the death of RCNZ founder William Markov, known as W. Marks, his eldest son Alex became managing director as the company considered diversification beyond radio manufacturing.

A pioneering domestic New Zealand record label and recording manufacturer focused on local artists, locally pressed records and commercial radio advertising production.

• Recorded music · 1949

  78 rpm records

  The majority of TANZA’s catalogue consisted of 78 rpm records, the dominant consumer format during the label’s early years. These releases documented New Zealand performers and repertoire while demonstrating that records could be recorded, processed and pressed domestically rather than relying entirely on imported product.

• Recorded music · 1952

  45 rpm records and EPs

  From about 1952, TANZA expanded into 45 rpm singles and extended-play records as vinyl formats became more important. Historical catalogue summaries identify 31 releases in these formats, including five EPs.

• Recorded music · 1952

  Long-playing records

  TANZA produced a small LP catalogue during the transition from 78 rpm records to longer-playing vinyl. The documented output comprises four LPs: three 10-inch records and one 12-inch record.

• Commercial recording services · 1949

  Radio advertising discs

  Advertising recording was the studio’s core commercial business. TANZA produced approximately 4,250 single-sided discs for radio-station distribution during the seven years of studio operation, initially using acetate and later vinyl-based media.

• 1956

  TANZA ceases operationsOther

  Background

  After approximately seven years of recording, pressing and advertising production, the TANZA studio and label operation reached the end of its active period.

  Action taken

  TANZA discontinued its operations.

  Aftermath

  RCNZ was later acquired by PYE Industries, and the Wellington studio was subsequently purchased by His Master’s Voice New Zealand, later EMI New Zealand.

  Source

• 1952

  TANZA expands beyond 78 rpm recordsGeneration change

  Background

  New vinyl formats were becoming relevant to the recorded-music market while TANZA’s catalogue remained primarily associated with 78 rpm discs.

  Action taken

  The label began issuing some 45 rpm records, EPs and LPs alongside its established 78 rpm output.

  Aftermath

  TANZA participated in the format transition, although its overall catalogue remained relatively small and the operation ended in 1956.

  Source

• 1948

  RCNZ establishes an in-house recording and pressing operationStrategy

  Background

  RCNZ sought to diversify beyond radio manufacture, while the end of an external record-supply arrangement exposed the limitations of relying on imported or third-party records for its retail network.

  Action taken

  The company created recording studios, installed a pressing plant at Wakefield Street and developed the TANZA label for local recordings and commercial advertising discs.

  Aftermath

  The initiative made RCNZ one of New Zealand’s earliest domestic record producers and enabled the successful release of “Blue Smoke.”

  Source

1. 1TANZAen.wikipedia.org