Blues Boss at Medici’s

Kenny Blues Boss Wayne

















The truly incredible and talented Kenny ‘Blues Boss” Wayne is coming to shake everything you got loose on Friday Feb 19th at Medici’s. As you local and hopeful newspaper mogul commented “how did you manage to get Kenny Wayne to play here?” Persistence, initiative, luck and a passion for The Blues is how. I have included a few snippets from his bio, a poster shot  and a heads up to get your tickets fast cuz there gonna go as fast as The Blues Boss can play…Friday, February 19th at Medici’s..522 Fairview Road in Oliver.250-498-2228. $35 a ticket. Seating is limited and planned…You’ll have the low down February blues if you miss this.

“There’s no boogie woogie-blues piano man out there today who pounds the 88s with the conviction of Kenny “Blues Boss” Wayne.” Jeff Johnson – Chicago Sun Times

“You’ll jump, you’ll jive and have a great time as Kenny “Blues Boss” Wayne does his boogie woogie piano/singing on “Let It Loose.” Performing with a panache, he mixes lively originals with covers.” Jonathan Takiff – Philadelphia Daily News

Hailed by Living Blues magazine as “an artist bringing the piano back to the front ranks of Contemporary Blues”, Kenny Wayne is at the forefront of modern day blues piano practitioners. Well versed in the New Orleans Blues and Jazz tradition by his Louisiana born parents — soaking up the exquisite grooves laid down by Fats Domino, Roosevelt Sykes, Professor Longhair and Pete Johnson — Kenny has along the way picked up a taste for Kansas City Swing and West Coast Jump. Working with artists as diverse as Jimmy Reed, Charles Mingus, Sonny Rhodes, Jeff Healey and Joe Louis Walker has added a tasty seasoning to the mix.

Born Kenneth Wayne Spruell in Spokane, Washington in 1944, Kenny and his family soon moved to Los Angeles where the vibrant West Coast blues scene was headquartered. A child prodigy on piano, Kenny was encouraged by his strict father to play gospel music. But with Los Angeles boogie woogie pianists ruling the airwaves in the early 1950s, not to mention North American wide recording star Fats Domino, it was impossible for the elder Spruell to keep young Kenny’s ears free of the “Devil’s music”. Apparently, neighbors of the Spruells were treated to the sounds of boogie woogie via the church pipe organ after young Kenny coaxed his piano teacher to show how to get his left-hand bass going.

By the time Kenny reached his early teen years, he was an accomplished keyboardist. With his cousin Henry Avery, a drummer with a growing R&B reputation and a knack for hustling gigs, Kenny worked dozens of gigs in the early ’60s, several backing visiting blues/R&B legends including a 1962 appearance at the Alpha Bowling Club with the great Jimmy Reed Ð the biggest blues hit record king of all time, with #1 records on the charts for a span of 8 years. Kenny’s parents came to the club that night to hear their son play piano with the blues legend.

Everything Reverend Spruell feared about the “Devil’s Music” came true that night. The club was crowded, smoky and wild and before long a vicious brawl erupted and one man attacked another with a broken bottle, blood spraying everywhere. As Kenny recalls with a chuckle, “my Dad grabbed my mom with one hand and ran up to the stage and yanked me off the piano bench and led us through the kitchen and out the back exit…that was the end of my blues career for over 20 years”.

Meanwhile the West Coast Soul circuit was taking off and by the late 1960s Kenny Wayne was in tight with the Los Angeles R&B scene. Kenny quickly became first-call keyboardist for live club and concert dates around L.A. Work with Billy Preston, Sly Stone and The Doobie Brothers soon followed. Kenny later put together an R&B revue called The Mighty Ken Explosion and headed north to Canada. When the band broke up in the late 1980s  band members settled in Vancouver. Kenny’s reputation as a talented keyboardist put him at the top of everyone’s on-call list and Kenny established himself not only with the R&B circuit, but also with the blues and jazz communities.

Kenny’s solo debut, 1995’s Alive And Loose, showcased his boogie woogie virtuosity and featured 11 originals plus dynamic covers of Jimmy Reed and Fats Domino tunes. The CD received rave reviews from the blues press all over Europe and North America. Over and over the critics praised Kenny’s charismatic delivery and attention-riveting originality. In 1997, Kenny recorded the critically acclaimed Blues Boss Boogie — his second Juno-nominated (Canada’s Grammy) release in a row.

In 2002 came the release of Kenny’s, “88th & Jump Street” on Canada’s premiere blues label, Electro-Fi Records. 2002 also saw the release of “Blues Carry Me Home” recorded in Paris. In 2005 Wayne released his second CD for Electro-Fi “Let it Loose” which was widely successful, earning him his first Juno Award in Canada. 2008 saw the release of “Can’t Stop Now.” In 2011 Wayne signed with Stony Plain Records and paired up with guitarist and producer Duke Robillard for “An Old Rock on a Roll” and Kenny received his first nomination from Living Blues magazine as “Most Outstanding Musician (Keyboards)” In 2012 Kenny was voted “Most Outstanding Musician (Keyboards)” by Living Blues Magazine and “An Old Rock on a Roll” was voted Best Contemporary Blues Album of 2011 by Living Blues as well.Kenny Wayne has earned his title, and he’s having fun. “This old rock IS on a roll,” he laughs. “Just give me a piano and an audience, and everybody’s gonna have some serious fun!”