Hmmm, I like it when songs, tracks or whatever have elements of soul, funk and jazz in them, with a little groovy snap in the beat. There are a lot of producers and labels that do this but Restless Soul/Phil Asher always come to mind for this type of groove. JT Donaldson is good for it on the more snappier tip. I know I'm missing a lot of folks, but that's my model when I'm making music and that's what I'm looking for.

Tell us about the sound of Blackstone and your mission with the label and why you stepped out on your own.

Our mission is simple: to make the best music possible. I always had plans of having my own label. Blackstone had been in the planning stages for many years before it came into existence. I stepped out on my own just to create another avenue. I still plan to work with other labels, which I'm doing now with Cajual, Large, and so on.

You were associated with Cajual for many years - especially as you mixed "A Taste of Cajual," which was probably the first mix CD to cross over and reach the mainstream. How do you remember your years with Cajmere, and did it prepare you as an artist with your own label?

I'm grateful for the Cajual days. It jump started my career on a national and international level as it did for many Chicago artists. I don't think we've had a label in Chicago since Cajual to have the same impact for Chicago artists since then. Two things of many stand out about Curtis aka Cajmere to me, then and now. First, he is very insightful and humorous. He's has dealt with situations that I haven't and has given me useful insights on being an artist and label owner and so forth. I would say he's my other brother.

The cool thing is that those days have resurfaced. I've had the opportunity recently to remix new releases from Cajual and Relief from Dajae, Walter Phillips, and Mr. Green Velvet. Also, Blackstone vinyl releases are now under the distribution arm of Cajual.

People who love vocals credit you with almost "saving" that aspect of the Chicago House sound when tracks were being pumped out in the mid-1990s. Who's been your favorite vocalist you've been able to work with, and who haven't you worked with that you'd like to?

Thank you, by the way. I've remixed vocalists that I've liked but there's nothing like making a song from scratch. I would say Russoul is my favorite vocalist. We vibe very well together and making music is exciting and easy with him. He's been featured on the first three releases on Blackstone. I also have to mention that Swaylo and Chezere are very good artists to work with too, I'm looking forward to recording new projects with all of them. It would also be interesting to work with some fellow Chicago artists like Peven Everett, Ron Carroll, and Dajae.

You're credited as the writer and vocalist on Lil Louis' 1988 release "7 Days of Peace." Any desire to step back behind the microphone yourself?

No, I have no plans to get behind the microphone. At least I'm 99.9% sure. I'll leave that to professionals!

What's your approach to making music? Is it a matter of inspiration or can you just "work" in the studio like a 9 to 5 job?

My studio experiences never seem to be 9 to 5, even though that would nice. It tends to go on until it's done - sometimes 'til the next afternoon.

As far as my approach to making music, it usually always starts with the Rhodes, especially when creating a song with lyrics, as opposed to a track. I usually experiment with keys until I hear something I like, then add the bass and drums. After that I usually hook up with a vocalist to write the lyrics and add musicians, if needed. From there I start producing the song, adding, changing keyboard parts, beats and so on.

As far as making tracks, I usually leave the Rhodes out, and keep adding riffs within that key scale. Also, sometimes I stay out of the studio and sing things in my head then figure them out on the keyboard. Whatever way it comes is how I do it.