Coco Live

Few chamber music groups have as proud a history as the Smetana Quartet, or a history that evokes as much nationalistic passion. Founded during the Nazi occupation of Czechoslovakia, the group's very existence was an anomaly during an era when any manifestation of Czech nationalism was outlawed. They survived into the post-Nazi era, and went on to an acclaimed international performing career, making some of the finest chamber music recordings of the 1950s and 1960s…

On his first album in four years and sixth for Alligator, blues guitarist Coco Montoya alters his musical M.O. a bit. Writing on the Wall marks the very first time that Montoya brought his live working quartet into the studio. Tony Braunagel returns as producer and guests on drums on four tracks. Keyboardist Jeff Paris co-produced and recorded at Jeff's Garage. In addition to Paris, the band includes bassist Nathan Brown and drummer Rena Beavers. Guests include guitarists Ronnie Baker Brooks, country star Lee Roy Parnell, and Dave Steen. The 13-track set includes five tunes composed or co-written by Montoya, four from Steen, and one from Paris – they co-wrote the title track with Montoya. The shared songwriting makes this, arguably, the most homegrown affair in Montoya's Alligator catalog. The contents intuitively balance electric blues, blues-rock, roots rock & roll, old-school, and R&B.

John Mayall is often more remembered for who has passed through his group than he is for his music. Such artists as Eric Clapton, Jack Bruce, Peter Green, Mick Taylor, Mick Fleetwood, John McVie, and a host of others are ex-Bluesbreakers. John Mayall’s Bluesbreakers: Live At Iowa State University was recorded in 1987. His band at the time consisted of dual guitarists Walter Trout and Coco Montoya with Bobby Hayes on bass and Paul Hines behind the drums. He was in his mid-fifties at the time this concert was recorded and appeared healthy. His voice is in fine shape. He even seems to be having fun on stage. The music is superb. John Mayall plays the blues and nothing but the blues….

Years of apprenticeship with Albert Collins and John Mayall paid off handsomely for Montoya on this debut effort. Even with help from some famous friends (Debbie Davies, Al Kooper, Richie Hayward [Little Feat], and both former employers), Montoya asserts himself as the focal point. Sadly, this was one of Collins' last studio appearances before his death, playing on the Lowell Fulson-penned "Talking Woman Blues" (commonly known as "Honey Hush"). Although Montoya showcases his massive guitar muscle, it is merely a fraction of the power of his live performances.

Years of apprenticeship with Albert Collins and John Mayall paid off handsomely for Montoya on this debut effort. Even with help from some famous friends (Debbie Davies, Al Kooper, Richie Hayward [Little Feat], and both former employers), Montoya asserts himself as the focal point. Sadly, this was one of Collins' last studio appearances before his death, playing on the Lowell Fulson-penned "Talking Woman Blues" (commonly known as "Honey Hush"). Although Montoya showcases his massive guitar muscle, it is merely a fraction of the power of his live performances.