Holmes trades his trio format for lush strings and a full horn section, crafting something warmer and more cinematic than his earlier work.
By 1976, Richard "Groove" Holmes had already made his mark with the 1965 hit "Misty", but this album represents a genuine departure from the small-group soul jazz that built his reputation. Rather than the stripped-down organ trio sound that defined his early recordings, Holmes steps into a fully orchestrated landscape — strings, multiple horns, percussion — that places him in conversation with the sophisticated soul-jazz orchestrations of the mid-seventies.
The arrangement is the real story here. Cornell Dupree and Eric Gale weave guitar lines around a string section anchored by Kermit Moore on cello and a quartet of violins, while the brass — Jon Faddis and Lew Soloff on trumpet, Babe Clark on baritone, George Opalisky and Buddy Terry on tenor — adds warmth rather than aggression. Guilherme Franco and Leopoldo handle percussion with restraint. Holmes himself plays synthesizer here, not organ, a choice that signals this isn't a sequel to his earlier work but an intentional recalibration. The overall effect is romantic without being sentimental, accessible without sacrificing musicianship.
This sits apart from Holmes's core body of work and probably appeals more to listeners drawn to orchestrated soul-jazz of the era than to those seeking his defining trio sessions. It's a solid late-career effort that shows an artist willing to enlarge his sound, though it lacks the immediate punch of his leaner records. Not a masterpiece, but a graceful one.