Finally getting his own electric in 1967, Kenny began emulating Hendrix and Clapton while doing school dances with local bands in Sacramento, Ca. where the family had moved in 1960. Teaching and repairing guitars at a music store, as well as playing in several copy-bands kept Kenny busy coming out of high school. Learning bass as well, he continued his music education playing in the local junior college jazz big band. This is when he learned to appreciate the genius of jazz greats Wes Montgomery and Joe Pass. When the busy studio session boom in L.A. began to excite the cocky 17 year old, Kenny moved to L.A. in 1973 and after a short stint at another music store, immediately went on the road with a Top 40 rock band.

When he returned in mid 1974, Kenny began working with Dave Schecter of Schecter Guitar Research and helped start the guitar parts business still growing today. Near the end of 1975, Kenny met his bride-to-be, pianist, singer, songwriter Diane Steinberg and began playing bass for her trio. Kenny and Diane began to co-write songs and in 1976 Diane got her second record deal on ABC Dunhill. This introduced Kenny to the hip and lucrative studio session scene that Kenny had been trying to break into for 2 years. Playing with Jeff Porcaro and all the other "cats", Kenny began to work up to double-scale status as an in demand bass player.

Eventually in 1978, Kenny got his own record deal on EMI/UA with his band "Pieces" and was constantly writing songs. As Diane went on to become "Lucy in the Sky" in the cult movie "Sgt. Pepper's Lonely Hearts Club Band", Kenny joined up with other band with a record deal. The drummer for that band, Gary Mallaber, had already made his way onto platinum records, including Steve Miller's greatest hits. Kenny and Gary became co-writers and eventually broke away to form their own band. In late 1981, while working on that project, Steve Miller called Gary one day looking for material for an album he needed to deliver to Capitol Records pronto.

Thinking that he might take a song or two, Gary and Kenny sent Steve all eight of their songs that they were working on. Surprisingly, Steve Miller took all eight of their Tascam 80-8 masters, and transferred them to 24 track format! Adding his vocals and a few guitar parts, Steve added two more out-takes from his previous album, and "Abracadabra" was released in the spring of 1982, selling over five million worldwide! Steve asked Kenny to join the band after the mixing sessions because as the Joker put it himself, "Since you played on over half the record, you might as well join my band and tour with me!"

Credited as one of the songwriters who gave Steve Miller "personality,"* Kenny Lee Lewis chose to stay in the background by composing for other artists. His "Cool Magic" on the Steve Miller Band's Abracadabra album reached Billboard's Hot 100 chart and his co-produced "Shangri-La" on Italian X-Rays was described as "the LP's standout track."** More recently, Kenny's co-produced "Why Can't I Fall in Love" has become a college cult favorite off the Pump Up the Volume soundtrack album and his "Midnight Train" was picked as a single on The Steve Miller Band's 1993 Wide River album. Numerous songwriting credits appear on such labels as A&M, Capitol, Elektra, ABC/MCA, BMG, Sony, Warner, and UA/EMI. Other movie soundtrack credits include Protocol, Spring Break, Iron Eagle, and Night of the Comet.

Kenny has expanded into writing the underscoring for motion pictures and television and two Smooth Jazz instrumental solo acoustic/electric albums.As a session player, Kenny Lee has been in demand by other top performers. He has recorded with such artists as B.B. King, Billy Preston, Eddie Money and Dave Mason. His talents have also been sought out by many top producers ranging from Quincy Jones to Bill Conti.

With the natural ability to perform for demanding crowds and a style guaranteed to please mass listeners, Kenny Lee Lewis' time to be in the spot light has arrived.

Downloadable musical selections from "Get 2D Point" and "Music of The Steve Miller Band - a smooth jazz tribute" are featured in the music section of the site, and the CD's may be purchased directly from the vendors shown beneath each CD: "Get 2D Point" is available from: CD Baby "The Music of The Steve Miller Band - A Smooth Jazz Tribute" is available from: Buy.com

Steve Miller

Kenny on tour with the Steve Miller Band

I first saw Steve when I snuck out of the house to go see him at the Sacramento Auditorium. I was 13 and it was my first rebellious act against my parents who had refused to let me go. I was fascinated with the San Francisco FM "stereo" radio stations that would come in at night up from the Delta. Bill Graham was booking all sorts of weird combination billings at the Fillmore and the "underground" stations were just as eclectic in their choice of programming music. They were playing Steve a lot that year. It was 1968.

I really related to Steve Miller. I liked him because he was the only American white guy who could play acid blues and go folkadelic at the same time. Jimi Hendrix was from another planet and, for me, his amazing guitar talents seemed unattainable. Eric Clapton, Jeff Beck, and Jimmy Page were foreign, frail and weren't known for their vocals. Most of the San Francisco groups were not blues players, the Beatles were too sophisticated, and The Beach Boys were too tame. Steve, on the other hand, was far from frail, like myself, and had a high, exciting voice. His vibrato and string stretching were concise and tasty when playing lead guitar. He also played pretty good harp. I said to myself, "I wanna do this!"

Steve Miller Band receiving star on Hollywood Walk of Fame

When I watched him that night in '68, I could swear he made eye contact with me for a moment and winked. I made a sub-conscious auto-suggestion to myself right then and there that I would meet him someday and play with him. In 1981, it came true while writing songs with Gary Mallabar, the drummer who played on most of Steve's hits. The phone rang and it was Steve. He said he was in a dry spell for writing and was looking for some songs. He had to deliver an album to Capitol Records in less than 3 months and asked if we could send him anything we might think would be right for him. We were working on a band demo at the time and were shopping for a recording contract ourselves. We thought, "What the hell! Let's send him our 8 song demo and maybe he'll pick a tune or two." And pick he did! All 8 of them, as a matter of fact. We were shocked!

With no material left and because Steve was using our existing Teac 80-8 masters, we were out of business. I was thrilled that Steve was going to be singing three of my co-written songs, but I never dreamed that he would call me personally and ask me to join his band! He said, "Well, since you already played bass and guitar on the tracks, I guess you ought to do the tour, right?" He then gave me an address to go to for taking pictures for the album cover. When I hung up, I was (here comes my age) blown away! I was a bass player at the time , but I also did most of the guitar work on the demos. I didn't even know what instrument he wanted me to play! Later, that night at the photography session, I met this hilarious black fellow who I found out was Gerald Johnson, the bassist who played on "The Joker". I asked "Who are you?" and he replied, "The bass player, who are you?" I said "I don't know." After I had inquired, Steve said, "Oh yeah, you're gonna be the other guitarist." The bass was retired!

• More about Kenny Lee and Steve at The Steve Miller Band Official Web Site

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