Jimmy McGriff and Groove Holmes – Giants of the Organ Come Together – New CD
CD. COMPACT DISC. CD. COMPACT DISC. CD.
uh-oh. here we go, groove meeting 1973, instrumental.
By the time I got to witness Groove Holmes, he was battling cancer and performing in a wheelchair, but that didn't stop him from delivering the goods.
While I never got to witness McGriff in person, he did turn me on to soul-jazz. I was working at a shop in Michigan, bored with the butt-rockers that dominated the radio airwaves at that time (early 80s) and with a suggestion from my boss George, decided to broaden my horizons and give jazz a try. For the most part, I just didn't get it, and if I did, I still didn't like it, but then this cat came on with this groove sound and I was hooked. I waited for the set to finish with grease marker in hand to write down the name of that cat with the crazy funky organ, and when the announcement came, I wrote down that name on the flange of a four-inch pipe, Jimmy McGriff. I felt really good that day.
Licks A' Plenty
Written By – E. Davis
Out Of Nowhere
Written By – H. Scott-M. Dickerson-H. Brown-C. Miller-L. Jordan-S. Allen
Written-By – Groove Holmes*
Finger Lickin' Good
Written-By – G. Holmes*
How High The Moon
Written By – N. Hamilton-M. Lewis
Things Ain't What They Used To Be
Written By – M. Ellington-T. Persons
- Congas – Kwasi Jayourba
- Drums – Bernard Purdie
- Engineer [Recording] – Malcolm Addey
- Guitar [Left Channel] – George Freeman
- Guitar [Right Channel] – O'Donel Levy
- Mastered By – Sam Feldman
- Performer [Left Channel] – Groove Holmes*
- Performer [Right Channel] – Jimmy McGriff
- Photography By – Chuck Stewart
- Producer – Sonny Lester
One of the all-time giants of the Hammond B-3, Jimmy McGriff sometimes gets lost amid all the great soul-jazz organists from his hometown of Philadelphia. He was almost certainly the bluesiest of the major soul-jazz pioneers, and indeed, he often insisted that he was more of a blues musician than a jazz artist; nonetheless, he remained eclectic enough to blur the lines of classification. His sound -- deep, down-to-earth grooves drenched in blues and gospel feeling -- made him quite popular with R&B audiences, even more so than some of his peers; what was more, he was able to condense those charms into concise, funky, jukebox-ready singles that often did surprisingly well on the R&B charts.
Revered in soul-jazz circles, Richard "Groove" Holmes was an unapologetically swinging Jimmy Smith admirer who could effortlessly move from the grittiest of blues to the most sentimental of ballads. A very accessible, straightforward, and warm player, Holmes was especially popular in the black community and had been well respected on the Philadelphia/Southern New Jersey circuit by the time he signed with Pacific Jazz in the early '60s. He started receiving national attention by recording with such greats as Ben Webster and Gene Ammons. Best known for his hit 1965 version of "Misty," Holmes engaged in some inspired organ battles with Jimmy McGriff in the early '70s before turning to electric keyboards and fusion-ish material a few years later. The organ was Holmes' priority in the mid- to late '80s, when he recorded for Muse (he also had stints throughout his career with Prestige Records and Groove Merchant). Holmes was still delivering high-quality soul-jazz (often featuring tenor titan Houston Person) when a heart attack claimed his life at the age of 60 in 1991.