Interview with Stewart McKenzie


Q: As Stewart McKenzie you are a part of the McKenzie Burns Project and the man behind Listen Up Records. Please tell me how the McKenzie Burns Project came into existence and why you've established Listen Up Records.

Stewart McKenzie: David and I met in Washington D.C. through a mutual friend back in 1999. Our friend knew of our mutual musical aspirations and thought we might be able to help each other. David had sent me some demos of what was to be "The David Burns Project." When I had visited Chicago later that year, I intended to just help lay down some bass and guitar tracks. That eventually led to a substantial contribution in the compositions and arrangements, to the point where we decided that we would form a partnership. Our goals and tastes in music were similar, and our strengths (and weaknesses) as songwriters complemented each other, so it seemed logical. And "The McKenzie Burns Project" became the new name.
It was a little difficult completing that first project because I was still living on the east coast and David was in Chicago, but traveling for his job. But we approached our debut CD with a mindset that if we wanted to make a name for ourselves as producers, we would have to create a buzz.
We knew a recording contract wasn't going to fall into our laps so we felt that the best way to garner label interest is to prove that you don't need them. Nowadays, it's such a risk to be signed to a major label. An artist may get a great deal, but then they are at the musical and financial mercy of an entity other than themselves. If you do not get the proper promotion, you may end up stuck in a no-win situation that includes being stifled musically.
While we have not found fame and fortune from our self-titled debut, "The McKenzie Burns Project," we have learned so much that will make future projects easier to promote. And in the process, you gain momentum with fans, reviews, airplay, etc. When you release your own CD, and are responsible for every aspect of its recording, promotion and distribution, then you are already operating like a record label. You may not have as much money (laughter) but you are in fact your own label.
David and I just decided to "formalize" the concept with the release of the Chicago Soul Sessions CD, and gave ourselves a label name to record under. So now, we have a label and website that our releases, and other compilations will come under. With that, we have the freedom of being under no musical or commercial constraints whatsoever. We can release music that we like without necessarily worrying about what's hot at the moment.

Q: How pleased are you with the reaction to the McKenzie Burns project and the Soul Session CD so far?

Stewart McKenzie: With our first CD wanted to prove that we could write, produce and record a commercially competitive CD on our own. The fact that we were recognized worldwide and played on the air in several markets was very rewarding and surprising in some instances. I think with every artist's debut effort, especially independent releases, they want validation and to create a name for themselves in the music industry. I think we accomplished that.
We are very pleased with the response to the Chicago Soul Sessions CD, at home and abroad. With the legacy of Soul music from the Windy City, it sort of sells itself on the title alone, not to mention that there are some great artists involved.

Q: What was your objective to release the Chicago Soul Sessions Vol I compilation and how did you get in touch with the other artists featured on the album?

Stewart McKenzie: We wanted to promote ourselves with some other artists from Chicago that we felt were deserving of more recognition. And I have always thought that there is strength in numbers, meaning that we can all make a bigger name for ourselves if we partner with each other and promote each other. It's far more compelling and newsworthy to hear and read about several artists from Chicago than just one.
As far as getting in touch with the other artists, well, let's just say that it took a while to get everyone on board. Quite a few of the participants are friends and musical acquaintances. And there are some unique stories as to how it all came together.
Chester Gregory happened to be one of the featured singers on our debut CD, so getting him to participate was easy. Also, I had helped Chester mix his two songs that appear on the CD and I was still living on the east coast at the time. Within a month of me moving to Chicago, Chester ended up heading to New York City to star in the Broadway Musical "Hairspray." As he was leaving, he asked me for a major favor. He had helped a friend named "Cherisse" record some tracks for her upcoming CD and she needed someone to help her mix the songs in a day so that the CD could be mastered and packaged for her CD release party scheduled within a couple of weeks!
So I ended up meeting Cherisse, bringing her and Kevin Kerr (writer and arranger of the track "Hopeless") over to my studio and we managed to mix five tracks that evening and even recorded "Hopeless." The Chicago Soul Sessions opener, "I Can't Make You Be A Man" was one of the other tracks that I had mixed for Cherisse. So, getting her to come on board was not too hard either.
Kaialexander (a.k.a. "Kai") met David at an ASCAP awards ceremony a few years ago. They had exchanged numbers and music. We had always talked about helping Kai record a CD and this was our first step towards that goal. Kai was not only enthusiastic about having two of his tracks on the CD, he also gave us a wonderful keyboard performance for the McKenzie Burns track "Judging You." I'm still trying to work my way into Kai's band as a bassist! And of course, he has first call for the McKenzie Burns gig.
Kevin Chandler was probably the hardest in that we did not know him personally. We were already familiar with his band's CD, pSoul pSychadelica and were in love with his music. On that CD, he had enlisted the services of several Chicago musicians, and it just so happened that a couple of them had performed with our band, so I was able to at least approach him through a mutual acquaintance. Kevin's material had already appeared on other compilations so it was not that big of a deal from him to be on it. For us, it's an honor, because he was already recognized locally and worldwide by fans of soul music as the consummate songwriter, singer and producer.
Teddy Austin was actually referred to us by our buddy Daron Randolph who lent his songwriting talents to the McKenzie Burns Project. Teddy now does most of his production work in Atlanta, but was happy to be a part of the CD. He even wrote the last tune on the CD "Under Stand" with the Soul Sessions in mind.

Q: Artists recording in Chicago like Curtis Mayfield, Gene Chandler, or Jerry Butler were very influential for 60s/70s soul music. How present is their music today in the Windy City?

Stewart McKenzie: I'm sure it is present, but I just don't know about it or run in the right circles to always hear it. You will hear more of the late sixties/early seventies funky cuts of Curtis by DJs spinning at a soul concert or in a soul lounge or dusties format. And folks who grew up in the fifties and sixties will never let their music die.
These guys defined the sound of Chicago and their legacy goes way beyond the city's borders. On Incognito's "Beneath The Surface" you can readily hear the Chicago Soul throughout - Bluey even stated that he was going for that type of vibe. You hear it again on Incognito's "People At the Top" on the "Who Needs Love" CD. Can you tell I'm an Incognito fan?
Anyway, getting back to Butler and company, I actually met Jerry "The Iceman" Butler a few years ago at a planning conference. He's currently a Cook County Planning Commissioner, but he also still performs. At the time I was a professional planner and of course, an aspiring musician, so I was thrilled by the career track parallels. It would have been nice to have him write the liner notes for the Chicago Soul Sessions CD, because he is such a well-respected soul figure in not only Chicago, but worldwide. However, I never got up the nerve to send it to him for his feedback until we had already released the CD. When I finally got a chance to speak with him, he said he thought the CD was "90 percent great, 10 percent very good!" I was so relieved. He also paid David and me one of the highest compliments I have ever heard. He said that our tune "Brazilian Love Affair" was one of the nicest songs he head heard in the past ten years and that our music gave him that same feeling he had when he first heard Gamble & Huff (of Philadelphia International fame)! Those are lofty words coming from a legend, associating us even indirectly, with two more legends. It means a lot to me, because I grew up on the Sound of Philadelphia (and Motown of course).
Then we went on to discuss the state of music in general and in Chicago. Interestingly enough, he felt that the music would probably fare better in other parts of the world before it took off in Chicago. The city is a little strange that way.

Q: Please tell us more about the soul music scene in Chicago these days. What's the vibe there and which artists are the main influences these days?

Stewart McKenzie: To be honest, I'm not aware of everything that the city has to offer. But I don't think there is much of a "cohesive" scene, at least not like there was back in the days of The Impressions, Donny Hathaway, Gene Chandler, Jerry Butler, etc. A lot of our most talented soul artists feel they need to leave Chicago to advance their careers. Chester Gregory is on Broadway and trying to make his mark in New York. One of his early writing partners, Chris Rob, is a wonderful talent who moved to New York and is creating a name for himself there as well. Others want to go to Los Angeles. Our friend Daron Randolph moved there and he has become a close musical ally to Steve Harvey (producer of Frank McComb, Kindred, Bridgette McWilliams and others) and finally got to meet his idol, Stevie Wonder. Even the producers of Cherisse's upcoming CD have talked about relocating to Los Angeles to get further than they think they will by staying in Chicago.
I'm guessing that the reason for this is mainly because the music, or at least the local underground soul music isn't widely supported or promoted by venue owners and media outlets. Also, I think a city has to have an altruistic spirit amongst its musicians. They have to be willing to work together and support each other for the common good. It can't be competitive or self-centered. If a climate is such where everyone is out for themselves then you never really have the musical infrastructure in place to get to that next level of a Philadelphia or Atlanta where the acts are plentiful like a modern day Motown. I think it also happens when you have a few key producers that are working with several acts.
It would be nice if we could get to that point with Listen Up Records, but we've got some work to do. The scene is still a little fragmented, but the potential is there. To make it work, I think there needs to be a central outlet or venue where artists can come together on a routine basis and perform for each other and the city's supporters of soul.
We have a wonderful singer in Teresa Griffin, who also performs with Jerry Butler. One of the most exciting singers here in Chicago is Andreus who has a great debut CD called "Street Troubadour" and is the closest thing to Curtis Mayfield I think we will ever experience in our lifetime right here in Chicago. If you have not heard this CD you need to check it out. Kaialexander recorded on his CD and has performed with him. If given the chance to perform or record with him I would jump at it in a heartbeat! I also think Cherisse is going to continue to grow in popularity. And then you have the city's musical wonder-child Peven Everett, who continues to use his Studio Confessions label to release his own recordings very frequently, and they're all assembled and recorded by the artist himself. Peven has been a staple of Chicago's soul underground scene for a while and has made quite a name for himself internationally. [You can read a review of Peven Everett's Studio Confessions album here]

Q: What can music fans expect from Chicago in the future in general and on Vol II and III of the Soul Sessions series?

Stewart McKenzie: I hope we can develop strong musical partnerships with the artists featured on Volume I, meaning that the door is open to have them appear on II and/or III. Of course, we will have other artists featured as well... hopefully some of the ones I just mentioned. Who knows, one day we might be able to get "The Iceman" himself to make an appearance!


For more infos visit chicagosoulsessions.com, mckenzieburns.com and read my review of Chicago Soul Sessions Volume I.