Kenny "Blues Boss" Wayne, Go, Just Do It!, album review, Rock and Blues Muse

Kenny Wayne

By Chris Wheatley

Renowned boogie-woogie pianist Kenny “Blues Boss” Wayne has more awards piled on his shelf than any one musician could ask for. Born in 1944, in Spokane, Washington, Wayne has played professionally as a sideman since the 60s. It was his relocation to Canada in the 80s, however, which saw both his career and his reputation as one of the great blues players, burgeon. At 75, he’s back with Go, Just Do It! a thirteen-track album of original arrangements by the man himself, set to release June 12th via Stony Plain Records.

Wayne’s partners on this musical adventure are as accomplished as you would expect. Veteran blues-fusion band Powder Blue contribute horn players Jerry Cook and Vince Mai. Other guests include talented Japanese guitarist Yuji Ihara, on loan from the award-winning Boogie Patrol, and harmonica ace Sherman Doucette (a man whose backstory is worthy of a film biopic), who has previously shared stages with the likes of Albert Collins and Sunnyland Slim. Former B.B. King bassist, Russell Jackson adds another link to the past (he toured with the legendary player for seven years and they cut five albums together). Additional vocals are provided by the astonishingly versatile Dawn Tyler Watson and former Parachute Club alumni Julie Masi.

A few seconds into the title track and you’ll be up on your feet. Jackson’s slap-bass bounces out of the speakers, underpinning a rocking, reeling blues-funk Wayne, on organ here, plays dextrous, flowing, lines, swinging and swaying, as funky as Stevie Wonder, as masterful as Jerry Lee Lewis. “You will be happy to follow your dreams, it might be easier than it seems,” he sings, in his raw, blues-drenched voice.

“You’re in for a Big Surprise,” is a mid-tempo, cautionary tale, a late-night cocktail bar concoction, with stirring, discreet synth. Wayne’s playing on this track is beautifully subtle and laid-back. He provides adorning flourishes, rolling vamps, stretches out on longer runs. So compelling and pleasing are his chops that it makes you wish for a solo album. “They Call me the Breeze,” chugs along like a train on a bright Fall day. Sherman Doucette’s harp is a delight, rhythmically dynamic, effortlessly beguiling. You can imagine Wayne’s smile on this track, as he lets his fingers play. “Let the Rock Roll” is classic boogie-woogie. Horns dive and duck, swoop and sway. Wayne gives full freedom to his inner spirit, treating us to some rollicking playing and some quite astonishing riffs and rolls, to the point where you begin to doubt that he is limited to only ten fingers.

Jumping, barrel-house piano contributed no small part to the genesis and evolution of rock n’ roll music. It’s no coincidence that early pioneer Fats Domino, who pounded the keys from the late 40s onwards, is cited by so many who followed. No less a personage than Elvis Presley referred to Fats as “the real king.”

Kenny Wayne is cut from this same musical cloth. “I’m not looking for a different path,” he affirms. “I love that jump blues and boogie-woogie. That’s where my heart is at.” Undoubtedly true as this is, like his idols before him, Wayne is something of a magpie, picking silver nuggets from all styles and genres to add to his sound. “Gospel was the first ingredient of this gumbo,” says Wayne, before pointing to Duke Ellington and Ray Charles as major inspirations. Testament to this openness is a guest appearance by Wayne’s son, Cory Spruell, who performs under the moniker SeQuel. Cory’s rap on “Don’t Want to be President,” blends organically into the track. Rap has always been a close friend of funk, and here, it works brilliantly.

Go, Just Do It! is, indeed, a rich and satisfying stew, infused with humour, warmth, no small amount of talent and decades of experience.

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