Henry “Coco” Montoya could not help but laugh when he won the W.C. Handy Award, essentially the Grammy Awards of blues, for Best New Blues Artist in 1996. 

“I thought it was hilarious, but I took it,” Montoya said. “I had been on the road with Albert Collins since 1972. So practically a quarter-century passed before I won the award. 

“It’s funny, but the truth is that not a lot of people knew who I was before I won it.”

Blues fans are familiar with Montoya’s work, 10 albums since 1996’s Ya Think I’d Know Better, which earned Handy hardware.

For those familiar and unfamiliar, this bluesman will be at Baker Street Centre on Saturday, April 27.

New Material

Despite his large catalog, Montoya, 72, continues to craft new material. 

Writing on the Wall, which dropped in September, is a powerful 13-track gem. The blues riffs are visceral. Montoya’s licks hit listeners in the gut, and he recorded for the first time with his live working quartet. 

“It was about time,” Montoya said from his Los Angeles home. “They added so much to the project.”

Keyboardist Jeff Paris, who co-produced, bassist Nathan Brown, and drummer Rena Beavers backed Montoya in the studio. 

“This was one of my favorite records to make,” he said. “It was such an enjoyable experience. I have so much fun working with those guys.”

Many of Montoya’s peers no longer write and record. 

“But I’m still compelled to create. That’s still part of my process. When I grew up, that’s what recording artists did. They recorded.”

Influences

Like a myriad of kids who grew up in the ’60s, Montoya was mesmerized by The Beatles. 

“Because of The Beatles, I became aware of melodies,” he said. “I was just a kid, but like so many people, I was blown away by The Beatles, and I had to play an instrument.”

Montoya was initially a drummer and a rock fan who indulged in the Los Angeles sound. 

“I would go to the Whisky (a Go Go) and see all of these bands from 3 Dog Night to Procol Harum,” Montoya said. “I remember seeing The Doors in Santa Monica. I loved their first album, and I loved seeing The Turtles since their harmonies were impeccable. I saw some incredible shows back then.”

However, the rock drummer left the genre behind when he caught blues legend Albert King in 1970. 

“Seeing Albert changed my whole perspective,” Montoya said. “I was riveted by the raw power of the blues. Albert was on a bill with Iron Butterfly, but I lost my concentration while watching them since I was thinking about Albert King.”

Another Albert who was also a blues icon, Albert Collins, changed Montoya’s life. 

Collins hired Montoya as a drummer in the ’70s and taught him to play guitar. From that moment, nothing was the same for him.

“Albert Collins was like a dad to me,” Montoya said. “I learned so much from him, especially about the music business. It was an extraordinary experience being part of his band. I’ll always treasure those days. They had such an impact on me.”

Montoya joined John Mayall’s Bluesbreakers in the early ’80s and stayed with the group for a decade. 

“I had a great time with Mayall & The Bluesbreakers or I wouldn’t have stayed with them for as long as I did,” Montoya said.

Getting clean

Montoya did not become a solo artist until he was 44 in 1995. 

“Better late than never I guess,” Montoya said. “It worked out fine. All of those experiences helped me become the musician that I am. I have no regrets about all of those years when I was learning. But the thing is that not everyone becomes a solo artist. Some people just stay in bands, and that’s alright. It took me a few months to decide to go solo.”

Montoya had actually recorded a solo album while he was in The Bluesbreakers. 

“I happened to get an indie record deal at the time, but back then I was having a problem with drugs and alcohol.”

Montoya had enough clarity to realize he had to become sober if he was permanently going to go solo. 

“I knew I had to kick drugs and alcohol to even have a chance to have some success if I went out by myself,” Montoya said. “So I got it together so I could open my own store, so to speak.”

Going Live

It’s been a terrific run for Montoya, who has become a well-respected blues guitarist and a soulful singer. 

“I’m who I am after working so hard all of these years,” Montoya said. “It didn’t happen overnight. I give it my all when I write, record, and especially when I get up on stage.”

That’s evident when Montoya performs as he engages the crowd and each show is organic. 

“Some people still go up there and play live,” Montoya said. “I’m one of those people. I’m up there in the moment… It’s a real show when you see me.”

The most difficult part of the road for Montoya is coming up with a setlist since he has such a deep canon. 

“That’s a good problem to have,” he said. “I’m not complaining. Having so many songs to draw from is such a blessing. I can’t get all of my songs in during a 90-minute set. But I have a show that spans my career, and I have a new album to promote. 

“After the show I’ll hear fans say, ‘You didn’t play “Too Much Water” or “Am I’m Losing You.” ’ You can’t play them all. But I work it out. 

“Playing these songs is my life. I’m one of those fortunate people who found what they were meant to do, and I love every second of it. Playing in front of people is the greatest thing.”

Who knows what Montoya would be doing if he didn’t have music?

“There’s nothing else I could do on this earth,” he said. “I’m not just saying that. I didn’t educate myself. I wish I could have stayed in school longer, but I dropped out in the 10th grade. I was mediocre at so many things, but music has always been there for me. Until I fall dead on stage, this is the way I make a living. I’m going to keep expressing myself and I’ll continue to tour.”

The tours normally hit Indiana, and Montoya always looks forward to playing Fort Wayne. 

“I haven’t been there in a while, but honestly, Fort Wayne is one of my favorite stops,” he said. “I love going back to Baker Street Centre. I’ve always enjoyed that room. We love going to Sweetwater (Sound). That’s such a cool place. The vibe is always great in Fort Wayne. The people are always kind to us and I love that whenever I come back there are so many young kids who are there getting into the blues. There’s nothing quite like the blues.”

There’s nothing like old-school guys like Montoya, who walk a high wire upon hitting the stage. Montoya and his band might hit a wrong note at Baker Street Centre, but that’s not a big deal. 

“When we make a mistake, we laugh,” Montoya said. “We’re humans and sometimes that happens when you perform. But I always say that blemishes are beautiful because they’re real, just like the blues.”