Richard Holmes

Ironically, Gene "Jug" Ammons tended to be critical of organists; he was quoted as saying that "organ players don't know any changes." However, as critical the Chicago tenor saxman might have been of organists - most of them, anyway - he did some of his best work in their presence. When you united Ammons with Jack McDuff, Johnny "Hammond" Smith and other B-3 masters in the '60s, the sparks would fly. They certainly fly on this excellent album, which finds Ammons and Richard "Groove" Holmes co-leading a soul-jazz/hard bop organ combo that also includes guitarist Gene Edwards and drummer Leroy Henderson…

A killer from Groove Holmes - one of his rarest albums ever, a one-off session recorded for Blue Note, with a group that includes a young Weldon Irvine! Weldon was a hip up-and-comer at the time - and he not only plays electric piano on the set, but contributes some of the album's best tracks. The mix of electric piano and organ makes for a very unusual sound - one that gets a nice kick from the conga/drum rhythm section, mixed in with electric bass and guitar.

Richard Arnold ‘Groove’ Holmes, born May 2 1931 in Camden, New Jersey, was a jazz organist who performed in the hard bop and soul jazz genres. Best known for his 1965 recording of "Misty", Holmes's first album, on Pacific Jazz with guest Ben Webster, was recorded in March 1961. He recorded albums for Pacific Jazz, Prestige, World Pacific Groove Merchant, and Muse. While Groove Holmes never attained the same kind of superstar status as fellow Hammond legend Jimmy Smith, Holmes was equally skilled in the keyboard pyrotechnics department. This collection brings together eight original LPs by this jazz maverick, all fully remastered and presented here on this new 4CD set. A pure delight for jazz fans of all stripes, this selection is both a perfect starting point for beginners, and a boon for all fans searching for this great man’s often hard to locate earliest recordings.

Talkin’ about playing bass! Richard “Groove” Holmes was a master at this particular aspect of Hammond jazz. Live date Onsaya Joy finds him locking in spontaneously with Orville J. Saunders II’s guitar solo and ‘walkin’ as if supporting Fresh-era Sly Stone on a Fender bass guitar on both the title track and Horace Silver’s Song For My Father. His command of the bass pedals is a highlight of this album. The rock beat of drummer Thomas Washington Jr. is less enamouring. With all due respect, one would wish for a more delicate and experienced approach. Sweet Georgia Brown has a ferocious tempo that outdoes Jimmy Smith’s short distance runner at Club Baby Grand. And make no bones about it, the man handles it eloquently, comping competently and soloing as if a hellhound’s on his trail.