He covered a wide repertoire, from Habanera and Calypso, to trad jazz, swing and jazz standards. They accompanied the calypso icon Lord Kitchener on a majority of his recordings for the Parlophone label. They included the Colony Room Club in Soho (1950-c1970), Hungaria Restaurant in Regent Street (1955), The Milroy and The Empress[6] clubs in Mayfair and Le Caprice restaurant in St James's. Mike's songwriting has consistently received accolades from various national and international publications. Times are changing with the sound of music and Michael is trying to push his way through the music sound and find a foot hold for his sound.

He has also worked with advertising producers, composing scores and recording voice overs for a variety of marketing projects. At a young age, Mike quickly became enamored with music, recording video game and TV themes with a boombox held up to the television speaker. Mike McKenzie wins BBC Radio Scotland Singer/Songwriter Award 2019 It’s just amazing. Mike McKenzie (Gunface), Boston, Massachusetts. McKenzie's line ups similarly featured a fusion of instrumentalists - Joe Harriott, Shake Keane,[4] Bertie King, Humphrey Lyttleton, Denny Wright and Jack Fallon, and vocalists George Browne, Marie Bryant and Lili Verona.

Michael's love of country music is strong and lasting. Preston had an ear for putting together musicians from different genres[2] and had his own production company that licensed his recordings to commercial record labels: The year 1952 also saw a series of experimental recordings produced by Denis Preston for Parlophone that combined British disciples of New Orleans Creole Jazz, led by trumpeter Humphrey Lyttelton, with a West Indian rhythm section, led by Freddy Grant. Mike McKenzie and Iggy Quail were innovative pianists and members of the bands led by Grant and Hart. Mike has earned endorsements from ESP Guitars, D'Addario, Peavey, Orange, Toontrack, and others. A Cappella & Unplugged Open Mic @Chambersburg Ice Fest, Open Mic Night at Blue Bird Cafe for writers who have not played at the Blue Bird. It wasn't long until he was teaching himself how to play guitar and trading his finger skateboard for a copy of Testament's The Legacy. A consistent crowd favorite, they are recipients of multiple awards, including Best Cover Band by the NELA Music Awards for 2015 and 2016 and an amazing five time 'Best Of The Delta' award winner for Best Cover Band from Delta Style Magazine. Mike began his solo musical career in 2017, after gaining experience co-writing with and producing other artists around Scotland, hitting the open mic scene with his melancholic outlook on love, life and happiness. Every year, from 1954 to 1961, he represented the West Indies on a series of BBC radio programmes celebrating music from the Commonwealth. [7], McKenzie freelanced or featured as a sideman with various groups including Lord Kitchener, Joe Appleton (1950), Humphrey Lyttleton (with whom he toured and recorded in 1952), Fela Sowande's BBC Ebony Club Band (1953) and Lonnie Donnegan, with whom he guested.

He led The Mike McKenzie Trio, Quartet and Quintet; Mike McKenzie's Habaneros; Mike McKenzie and his Rhythm; and The Mike McKenzie All Stars. The Red Chord albums Fed Through the Teeth Machine and Prey For Eyes were listed in the Billboard Top 200, and 2005's release, Clients, was listed as #16 in Decibel Magazine's Top 100 Metal Albums of the Decade. Eight 78-rpm records resulted from the sessions. 2.3K likes. He composed songs with his wife, the lyricist and actress Elizabeth McKenzie, and Denis Preston; he was an arranger for Humphrey Lyttleton and Wally Fawkes. He toured with Jack Parnell in the jazz revue Jazz Wagon (c.1954), accompanied Ella Fitzgerald at the Mars Bar in Paris and played at the London Palladium with the Ted Heath Orchestra.[8]. As he looks back on his past military service, the meeting of the love of his life (Debra, who helped him to bring about their son, Michael McKenzie III), and the impacting memories of his upbringing in Tallahassee Florida, Michael combines it all into something that for him is much more than just a song, and is instead a soulful expression.Michael enjoys meeting and talking with his audience members, and the conversations he has with them only adds more value to his songwriting experiences. [incl. ;[5] even prior to that, in 1957, he had appeared in a BBC radio programme, Caribbean Carnival: The British West Indies Show.

Included in the package were three West Indian singers George Browne (a Trinidadian, known initially as "Young Tiger"), the Jamaican Tony Johnson, and "the tenor who makes no error" Bill Rogers (Augustus Hinds), who was from Guyana.[3]. The lyrics of "Tomato" (1952) and "Little Boy" (1953) are quoted in Frank Norman's 1959 novel, Stand on Me. The two of them joined forces in the The Red Chord, and the band soon launched into a trajectory that would include over 2,000 performances around the globe with notable tour-mates like Ozzy Osbourne, System of a Down, Gwar, Slipknot, Cannibal Corpse, Mastodon, and Converge. Even as a young boy, Michael was listening to mainly country music but branched out to AC/DC, Guns N Roses, Def Leppard and many more.

These recordings, by the Grant-Lyttelton Paseo Jazz Band favoured a North American repertoire. What this had to do with Mike McKenzie and his cocktail jazz I never worked out.". Freddy Grant played clarinet and flute; Rannie "Sweet Lips" Hart was a trumpet virtuoso.

He played regularly in Georgetown, then moved to London in 1949.[1]. Vibert C. Cambridge, in his book Musical Life in Guyana, describes the contributions West Indian musicians made to the evolution of British popular music during the twentieth century, singling out calypso recordings in particular: By the 1950s musicians from British Guiana such as Robert Adams, Freddy Grant, Rannie Hart, Cy Grant, Frank Holder, Mike McKenzie and Iggy Quail were among the key contributors to this evolution. He performed, either solo or with a combo, at various London venues as well as the Moss Empires circuit.

in "Humphrey Lyttelton: The Other Parlophones 1951-1954" (2006)], CS1 maint: multiple names: authors list (, "TV Pop Diaries: Popular Music on British Television", https://en.wikipedia.org/w/index.php?title=Mike_McKenzie_(jazz_musician)&oldid=892786801, Creative Commons Attribution-ShareAlike License, 24 January; 11 April; 4 July; 5 September 1959, 23/30 August; 16 October; 13 November 1959, 9/16/30 June; 7/14/21/28 July; 4/11/25 August; 18 August; 1 September 1960. On 30 January 1959, The Mike McKenzie Trio performed with Cleo Laine at the first Caribbean Carnival (West Indian Gazette Carnival) at St Pancras Town Hall, a precursor to the Notting Hill Carnival.
Freddy Grant and Rannie Hart were featured on most of the seminal calypso recordings made in the United Kingdom during the 1950s. This was to be Mike's record, to be sold on the door at the nightclub as the punters left [...] In a further twist, Denis prescribed that the musical style was to be Latin Fusion in the manner of Carlos Santana.

There were two exceptions, however Fat Tuesday — another name for Mardi Gras in New Orleans — was based on a tune "dug up from the recesses of [Freddy Grant‘s] memory"; and Mike’s Tangana was written by Mike McKenzie in a way that fused black Latin American and North American styles.

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