Why Richard "Groove" Holmes does not occupy a place at the mantle of jazz greats alongside all those big names Wynton Marsalis loves to spout off will always be a mystery to me. Listening to his recordings, especially the live ones, I'm left feeling as if I've heard a musician who has found the sphere of total enlightenment. Holmes had prolific chops and, partly due to his left-handedness, the ability to play both walking and funk basslines with a precision that evaded even the finest organist, yet he also seems to be completely in the moment, driving the music to peaks of intensity or the depths of whatever vibe the song had. If Holmes had worn a funny hat and made some crazy out sounds there'd probably be 10 books about him (he did make some out sounds, those pitch bends are him turning the organ off and flipping the switch back on right before the motor dies completely).
Living Soul is a testament to the power of Holmes live (DJ Prestige at Flea Market Funk did a nice write up of one track from the album here). He and his band (drummer George Randall and guitarist Gene Edwards) DESTROY this session recorded live at Basie's Basement in April 1966. They pick some cool tunes too, mixing in a couple of well-played waltzes in with barn burners and a decidedly not-schmaltzy version of "The Girl from Ipanema."On the organ jazz scene Holmes was as giant a persona as he was a physical presence. Pretty much every older jazz organist I've ever had the chance to speak to has said that Holmes was a "beautiful cat" that would always sit down and show you something and that he was a guy who appreciated a good hang. I know he used to roll through Hartford a lot, and the people that are old enough to remember only say good things (which, if you know jazz musicians, isn't always the case).
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