A letter from Marshall Chess

How do you pronounce CZYZ?
It's the original family name. I don't think anybody can say it correctly in English. It's pronounced CHEZ or Chaz. Most people will call it "C-Z-Y-Z". The only people who will call it "Chess" will be in Poland.

The record business is in my blood. I was born in 1942, five years before my father and uncle started Chess Records. I was raised during the heyday of the independent record business and was lucky enough to know and work with many of the great Chess artists, Muddy Waters, Howlin' Wolf, Little Walter, Sonny Boy Williamson, Bo Diddley, Chuck Berry and many others. In 1970, after Chess was sold, I helped create and then ran Rolling Stone Records for seven years. I was executive producer of Sticky Fingers thru Black and Blue. Then, having had my fill of sex, drugs, and rock and roll, I dropped out!

During 1997 I visited thirteen countries helping to promote the 50th anniversary of Chess Records. I was asked over and over again why I was not making records anymore, particularly with growing world-wide awakening to the blues. To be honest, this interest kindled a buried desire to get back in the studio and do what I love doing: Making records.

I decided to look for a young artist who could play and sing the blues. I wanted to see if I could capture the magic I remembered so well on our early Chess records. I was going to call the project 2120 (the landmark Chess Studio address, 2120 South Michigan) in honor of all the great music that came out of the Chess Studios and all the black music that surrounded me as I was growing up. There were VJ, Cobra, Motown and all types of small independent labels and productions. My whole life was immersed in hearing and feeling all kinds of black music live, in the studio, on the radio and at home.

For many years I have been thinking that the old way of recording without extensive over-dubbing was a key ingredient in getting the magic and feeling back in the music. This is especially true of singer/guitar players, as it is so important that they lock together both vocally and instrumentally. When there is no chance to do it over and over again you are forced to focus more. This extra focus can take it to a higher level. "Get the band to lock", "Make them play like they are one" were some of my father's most important rules in the record production and they have never stopped being the foundation for my own productions.

In August 1997 I got lucky. I found my artist. Better yet he was in my own back yard.

I first heard Murali Coryell in a small club in Woodstock, NY. I had heard about him and went to check him out. His guitar playing and soulful singing knocked me out. I introduced myself to him and asked him to come over to my house and talk. Murali is the son of the famous jazz/fusion guitarist Larry Coryell. Like me, he was born and raised around great music. His roots are deep and his knowledge and love of blues, R&B, soul, and gospel is immense. Murali connected to the rhythm section of Rod Gross (drums) and Bill Foster (bass). Both Rod and Bill have a deep love and respect of blues and R&B. They have been playing together for over ten years (since high school in Maryland) and share strong chemistry. We began with a trial session at the end of August 1997. We recorded at Bearsville Studios using what I call a retro/modern style of recording, everyone going down on tape at the same time locked together. No overdubs... Murali isolated from his amp, but playing and singing at the same time. No fancy electronic tricks that make the sound great but hurt the feel, or as I always say "Kill the Magic."

Even before the album was finished I began to think that the only way to get this great music out to the public without major label rules and controls was to form my own label. I'm a "record man" and wanted to be involved in every phase of this project. Discovering and working deeply with the artist, producing the record, designing the packaging, controlling the marketing and promotion...in other words, everything. Along with my cousin Kevin Chess we've started CZYZ Records which hopefully will become a home for many great artists.

2120 is electric with a strong dose of sexuality. Since we've finished it, I've gotten more and more excited about it. This is exactly the kind of record I would have made if I were still at CHESS.

CZYZ Records...dedicated to artistry and performance.

Murali Coryell's 2120 coming September 21, 1999

Hope you feel the magic!

Sincerely,

Marshall Chess