Wednesday, April 21, 2010

Chess Records: son still gets blues over label (Reuters)

NEW YORK (Reuters) – Chess Records, which brought sadness to white audiences in a 1950s as well as 60s, is one of a handful of labels identified with one musical genre - as Stax is with soul, Sun with rockabilly or Blue Note with jazz.

The Chicago-based tag was founded by Polish immigrants Leonard as well as Phil Chess in 1950. Without it, a generation of stone musicians competence never have picked up guitars.

Chess introduced them to Muddy Waters, Chuck Berry, Howlin' Wolf, Bo Diddley as well as a horde of sadness greats who shabby a likes of a Rolling Stones, Led Zeppelin as well as Eric Clapton.

But for all a informative significance of a tag which was sole in 1969, it was about flourishing up for Leonard Chess' son, Marshall, He spoke to Reuters during a release of "Who Do You Love?" a film about a mythological label.

Q: You've worked in a recording business all your life, how did it start?

A: "I went upon a road during a age of 10 with dad. we loaded trunks, swept floors as well as went to get coffee 20 times a day. Then we grown a adore for a song as well as which led to me producing records. we was trained to be a record male - we worked in a dire plant, we did it all. It became my hold up as well as was my universe prior to it was sold."

Q: You contingency have know all those good sadness musicians in Chicago. What were they like?

A: "Muddy Waters called me his white grandson. He wrote me records to girls. There was Muddy as well as (Howlin') Wolf, John Lee Hooker as well as Sonny Boy Williamson as well as Etta James as well as we had fanciful jazz as well - we were a full-court black song company! .

"I was a child as well as all a sadness artists used to speak about was sex, women as well as drink. 'Are we gettin' any yet?' they'd ask me."

Q: Your father as well as uncle were from Poland, how did they get to know a blues?

A: "They came as kids. My grandfather owned a throw yard. They came to Chicago with a same ideas as a poor blacks who came up from a South. They longed for to make money. They longed for a better life. They weren't thinking about a music. The throw place was in a black area, there was a black church across from a behind back yard as well as they listened gospel music."

Q: How did they get into a song business?

A: "My father was a shoe salesman as well as a milkman as well as afterwards he ran a wine store in a black ghetto. That led to him running a tavern with a juke box as well as he realized these people spent their money upon women, whisky as well as music. Dad knew from a juke box which a people desired a song as well as which it could sell.

"The bar burnt down as well as he went to work for Aristocrat annals whose first artist was Muddy Waters. Dad was offered annals out of a behind of cars. It was called race song afterwards as well as few people played it upon a radio.

Q: Do we remember a years after your father proposed Chess?

A: "Chess was my father's name -- Czyz in Polish. Dad rented a college of music as well as we was during a first recording session. Sam Phillips who had proposed Sun Records, was a first producer.

"It grew from 1950 to '55. We had Muddy Waters, a first big star, as well as Willie Dixon put a bands together, he was a bass player as well as song writer. We were offered maybe 20,000 to 30,000 copies, with royalties of 2 cents. By 1955, we were large enough! to poin ter Chuck Berry as well as Bo Diddley. Chuck had a strike with 'Maybeline' as well as that's when there was a cross-over as well as white radio stations proposed playing a music."

Q: You went upon to work upon a Rolling Stones as well as other recordings, what do we miss?

A: "My uncle is still alive, he's 90, as well as we both skip a laughter. Chess was fun."

Q: What is special about a blues?

A: "It's magical stuff. It affects a way we feel. Blues is very raw as well as with Muddy Waters we got it raw. Most sadness lyrics report a adjustment of men moving to Chicago from Mississippi."

(Reporting by Steve James; Editing by Patricia Reaney)



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