When the needle first touched down on “Cookin’ At Greaseland,” I knew I was in for a treat, but I wasn’t prepared for the feast of bluesy brilliance that awaited me. Quique Gomez and Little Charlie Baty have crafted an 11-track triumph that isn’t just an album—it’s an experience, a journey through the soul-soaked landscapes of blues and jazz. From the first note to the last lingering echo, “Cookin’ At Greaseland” is a testament to what happens when genuine passion, masterful talent, and a shared love for the genre converge.
The album kicks off with “Greaseland Stomp,” an exuberant opener that sets the tone for the rollercoaster ride ahead. Quique Gomez’s harmonica playing is nothing short of transcendent, oscillating between playful riffs and heart-wrenching wails that remind me of the greats like Little Walter and Sonny Boy Williamson II. Little Charlie Baty’s guitar work here is equally mesmerizing, fluidly bridging the gap between jump blues and jazz with an effortless grace that reflects his virtuosity. His notes dance around Gomez’s harmonica, creating a dialogue that is both vibrant and nuanced.
As I delved deeper into the album, “Thirstiest Man In Town” emerged as a standout. Released as the premier single, it offers a haunting narrative of despair and longing. Gomez’s vocals are drenched in emotion, each word weighted with the kind of pain that only the blues can convey. His harmonica, almost an extension of his voice, wails with an anguish that feels deeply personal. It’s a track that pulls you into the dark alleys of heartache and leaves you lingering there, feeling every pang of sorrow and every glimmer of hope. Baty’s guitar work on this track? Sublime. His playing is imbued with a rawness that cuts straight to the bone, spinning tales of sorrow and redemption with every bend and slide.
You can listen below.