Kenny "Blue" Ray has appeared on close to 40 recordings, including appearances with Stevie Ray Vaughan, Marcia Ball, Ronnie Earl, Charlie Musselwhite, Anson Funderburgh, and many others. "KBR" was an Original member of the 1st Little Charlie & The Night Cats Band from 1975-1976, Having a BIG Time, with The Night Cats, then moved on to LA, working with William Clarke, and Smokey Wilson, and backing up Percy Mayfield, Big Joe Turner, Lowell Fulson, Big Mama Thorton, and then it was off to Austin, Texas for 4 years with the Marcia Ball Band. Since 92 Kenny Ray has done 13 cds and Produced and written 10 songs on Jackie Payne's JSP cd, Day in the Life of a BluesMan…….
When it comes to hard-hitting blues guitar, Kenny 'Blue' Ray is the real deal. Kenny has appeared on close to 40 recordings, including appearances with Stevie Ray Vaughan, Marcia Ball, Ronnie Earl, Charlie Musselwhite, Anson Funderburgh, and many others. Kenny is a guitarist of the less is more school, who conveys a control and mastery of each note; a musician who knows no limit to tone.
Kenny "Blue" Ray featuring Jackie Payne Soulful Blues Tone King This is one of the best electric Blues record of the year. No kidding. Kenny "Blue" Ray, underrated Texan guitarist, and soul-blues singer Jackie Payne are a dangerous couple. Blue Ray, an Albert Collins' disciple, has been trading licks with virtually everybody around and in "Soulful Blues" ……
There's no mistake why he's dubbed the "Tone King." He employs the often imitated West Coast sound, but stands out by incorporating a variety of colors and textures. Never restricted to the Wild West sound, he stretches out in "Cadillac Drive," paying homage to jazz great Wes Montgomery, and tackling the Stanley Turrentine classic "Sugar," peppering blue notes within its jazz base. Acknowledging a passion for transitional country-electric blues, he wisely choses a lesser-known John Lee Hooker tune, "Maudie," and an original, "Mississippi 3 a.m." To truly enjoy his range, listen to "Tone Party," a cooker filled with single-note passages, each possessing a powerful punch.
Here‘s a shot of some of the leanest, cleanest and meanest guitar licks by one of the finest purvevors of the Texas-Blues tradition currently in practice. Kenny “Blue“ Ray evokes thespirit of the Kings, Albert Collins and T-Bone while forging his own identity as a player ofconsiderable chops and taste.
When it comes to hard-hitting blues guitar, Kenny Blue Ray is the real deal. Every once in a while someone comes along who pleasantly reminds one that there is some uncharted talent ready to explode on the blues scene, and this is the moment for Ray! A Bay Area resident, Ray is considered one of the top guitarists around; certainly one of the most prolific performers on the West Coast, if not the country. He performed in London, England from 1969-'72. He has had over a dozen solo albums released, all of which have received strong reviews - and there have been over 65 reviews of his CDs! Ray's releases,"Fired Up," "Cadillac Tone" "Strat Daddy" "Pull the Strings," "Git It," "Blues My Axe," "Blues Obsession," "Soulful Blues," and his latest, "Got Blues," have all appeared on Tone King Records. The British publication, Blues & Rhythm, has consistently listed his releases among the top 10 selling albums in England…………
This fender-fired blues player simply scorches on his Strats and Teles,bringing to mind the best Texas riffing of Albert King,Freddie King,and the Vaughan brothers.
Never one to disappoint, this is another fine "real deal" blues album from the West Coast cat who wastes no notes and no time (neither yours nor his). Most of Keep the Mojo Workin' was recorded live, with just a few overdubbed solos, and was completed in just two sessions. You'll find instrumental tributes to Anson Funderburgh, Jimmie Vaughan, and Ray's late great boss, William Clarke. You also get some Billy Gibbons harmonics and early-'60s style B.B. King/Duke Jethro sounds. Covers include Albert Collins' "Backstroke," Little Walter's "Mean Old World," Eddie Taylor's immortal 1955 hit "Bad Boy," Jimmy Reed's laconic shuffle "You Don't Have to Go," and the Elmore James classic "I Believe." In addition to some great West Coast, Texas, and Chicago blues guitar playing, Ray takes to the Hammond B-3 on four of the songs. This one also showcases Charlie Chavez on vocals and harp and Stan Powell on chromatic harp.
Kenny Ray delivered on his promise with 1997's In All of My Life. Working with vocalist Jimmy Morello and a horn section, Ray has created an album that hits as hard as blues but swings like soul. He keeps things from becoming predictable by contributing some gutsy, idiosyncratic guitar work. Morello's vocals follow the same path, and the result is a wonderful blues record that honors traditions by not being beholden to them.