Coco Montoya Coming in Hot

Coco Montoya
Coming in Hot
Alligator Records

"Coming In Hot" is the latest Alligator release from blues-rocker and powerhouse guitarist Coco Montoya. Like his prior recording, "Hard Truth," this is produced by drummer Tony Braunagel and recorded by Johnny Lee Schell, who plays rhythm guitar on wight of the 11 tracks. Others on this recording include Mike Finnigan on keyboards, Billy Watts on rhythm guitar on three songs, and Bob Glaub or Mile Menell on bass. Jon Cleary plays piano on one selection.

Montoya's searing guitar and forceful vocals continue to impress those who like a solid blues-rock mix. He certainly puts so much into his singing as on "Good Man Gone." The title track has a catchy, rhythmic groove as he tells his woman to get her fire burning as he is coming in hot tonight with a stunning guitar solo. He channels Albert Collins on Collins' classic slow blues, "Lights Are On But Nobody's Home," with terrific guitar and one of his most compelling vocals here. Warren Haynes' ballad, "What Am I?" is a nice change of pace with his relaxed vocal and the somewhat restrained backing, although he takes a fiery solo. There is a cover of a less-known Bobby Bland recording, "Ain't it a Good Thing." Shaun Murphy shares the vocal on this splendid performance with some terrific blues guitar from Montoya.

A rocking shuffle "Water to Wine" closes this album with Montoya celebrating this woman who can do almost anything such as change 'water to wine.'" It closes another CD of varied, nicely paced, and played performances. Coco Montoya continues to deliver the goods for those who like their blues with a rock-edge.

I received my review copy from Alligator. This review appeared in the September-October 2019 Jazz & Blues Report (Issue 386), although I made minor stylistic changes. Here is a relatively recent performance by Coco Montoya.

Charlie Owen Worth the Wait

Charlie Owen
Worth the Wait

Like the prodigal son, DC native Chartlie Owen has returned to the DMV (Distict-Maryland-Virginia) after decades on the West coast where he fronted the Dynatones as well as part of the house band at various venues. Now he has this release produced by Jim Pugh, who was the keyboardist for the Dynatones, as well as others including Etta James. In addition to Pugh (and Owen's own trumpet on 4 tracks), among those heard in the backing including saxophonist Nancy Wright, drummer Paul Revelli, Jon Cleary (piano on one track) and Curtis Salgado (a duet on one track).

This is mostly an album of southern soul and blues ably played and capably sung. Owen shows clear affection for this material and his renditions of the O.V. Wright classic "I Don't Know Why," James Carr's "Pouring Water on a Drowning Man," Little Milton's deep blues "So Mean To Me" and classic urban soul "We're Gonna Make It," Johnny Adams' "It Ain't the Same Thing," and Johnny Taylor classic "Cheaper to Keep Her," show him an able singer although his renditions do not reach the level of Carr, Milton, Adams and Taylor, as capably sung and played as they are. His affection for New Orleans R&B  is reflected in the Adams cover along with a nice treatment of Allen Toussaint's "On the Way Down," along with surprising, and well-sung recreations of Tommy Ridgely's "Let's Try and Talk It Over," along with Lloyd Price's "Just Because."

A couple of ballads stand out including his rendition of Jesse Winchester's "No Pride At All," and Allison Moorer's "Soft Place To Fall," that closes this recording. These have a warmth and do not suffer from unavoidable comparisons with some soul legends. Owen is a very good singer, and fans of classic soul with a dose of blues should find "Worth the Wait" quite entertaining.

I received my review copy from a publicist. He is performing Sunday evening, July 23 at JV's in Falls Church, Virginia and I hope to enjoy his music live. Here is Charlie Owen performing "Can I Change My Mind."

Teresa James' Come On Home

Originally from Houston Texas, vocalist Teresa James makes her base in Los Angeles where she works with her band, The Rhythm Tramps who she has been working with for several years. James has performed live with such legendary artists as Levon Helm, Delbert McClinton, Bonnie Raitt, Kirk Whalum, Marcia Ball, Tommy Castro, Al Anderson, Asleep at the Wheel, and Lee Roy Parnell as well as having been a featured act on Delbert McClinton's Sandy Beaches Blues Cruise. James’s band, the Rhythm Tramps consists bassist Terry Wilson; guitarist Billy Watts; drummer Harman Matthews and percussionist Debra Dopkin. She has had a number of well-regarded albums, with the latest being Come On Home (Jesi-Lu Records).

Bassist Wilson produced this new recording as well as contributed to many of the original songs heard here. In addition to the members of the Rhythm Tramps there are some notable guests on this recordings including Jerry Peterson on saxophone; Lee Thornburg, who did the horn arrangements, on trumpet; the horn section from Mingo Fishtrap on one track; Jon Cleary on piano; Mike Finnigan on B-3 (and a vocal duet) David P. Jackson on accordion on one cut; Jim Christie and Tony Braunagel share the drum chair with Matthews on several selections and Leslie Smith adds his vocals. John Porter did the mixing. Quite a supporting cast that has been assembled here.

From the opening title track to the rocking closing All I Want to Dance, James places her stamp on the songs here supported by The Rhythm Tramps and guests. For those who have not heard her think about a Janis Joplin influenced singer with a dose of Bonnie Raitt mixed in. She sings naturally, in an unforced and convincing fashion. Throughout, the band plays terrifically whether rocking or laying down a lazy groove.

The title track sets the pace with the rock-solid groove as she displays a take no nonsense attitude about the man who should take his sorry ass, lazy bones home. Its followed by her duet with Finnigan, a nice cover of Etta James & Harvey Fuqua’s soulful If I Can’t Have You, where both invest so much into their singing. The swamp-country soul of My Baby Knows What I Want, celebrates her man who holds her tenderly and knows what good loving is all about. It is followed by the rock and roll of Tommy Kay’s Long Way From Texas, with Cleary adding rollicking piano. 

Wilson’s Forgetting You, is a fine southern soul styled ballad with nice use of horns to frame her heartfelt vocal. There is more R&B flavor on Still Got the Message, with echoes of the Hi Rhythm Section while She’s Got a Way With Men (which she co-wrote with Wilson), conjures up classic Motown. Voodoo Doll, with Jackson’s accordion, adds some New Orleans flavor. On Carry That Burden, James sings with considerable restraint. It speaks to how good a singer she is that her performance on this is as authoritative as when she belts out a rocker like I Can Do Better.

Come On Home, is a first-class recording that makes clear why folks like Bonnie Raitt, Kirk Whalum and Delbert McClinton are admirers of Teresa James. 


I received a review copy from a publicist for this release. Here is Teresa James and the Rhythm Tramps in performance. 

Matt Schofield Has Anything But Time

Anything But Time (Nugene Records) is the latest recording by the relatively young Matt Schofield. Schofield is a triple threat as a songwriter, vocalist and guitarist whose blues has strong funk and jazz elements. His latest effort was recorded in New Orleans and produced by John Porter. On this he is backed by his organ trio of Jonny Henderson on keyboards and Kevin Hayes on drums. Jon Cleary guests on several tracks and producer Porter is on one. Eight of the ten tracks are Schofield originals, with the neither of two covers being over recorded numbers.

With the opening title track it is clear that Schofield has a way with words and how he delivers them as well as fluid guitarist. Henderson’s organ adds another strong instrumental voice on this marvelously paced performance. That pretty much characterizes this entire recording. He may not quite equal Albert King on “Wrapped Up In Love,” but he does place his own spin while displaying some of King’s influence in his tone and playing here. And if Albert King may be a strong influence, the influence has been distilled by Schofield in his own style and approach. The rest of this album is on the same level.

This writer was impressed when seeing Schofield at the 2007 Montreal International Jazz Festival, and that impression is reinforced by this excellent recording. Schofield is a strong convincing vocalist and an superb, imaginative guitarist backed by an excellent band. The result is this marvelous recording, Anything But Time.

I received a review copy from a publicist. Here is Matt Schofield and trio performing one of the songs on this album, Dreaming of You.