This killer little Groove Holmes date was produced by the mighty Sonny Lester, and features a big band arranged and conducted by Manny Albam. Other than Holmes, the only other soloist credited here is Eddie Daniels on tenor and flute. The material here is curious upon first glance, with covers of Gerry Goffin's "Go Away Little Girl," Stevie Wonder's "You've Got It Bad," and Carole King's "It's Going to Take Some Time" situated around some hard soul-jazz numbers by the organist, including "Groove's Groove," along with Norman Gimbel's sweet ballad "How Insensitive" and slippery little soul tune "Meditation."
Super Soul was a little funkier than much soul-jazz that had passed before 1967, and its horn parts sometimes slanted more toward pop and soundtrack territory. That was particularly evident on one of the strongest cuts, the opening "Why Don't You Do Right?," where the rhythm (particularly with the aid of a conga drum) goes into grooves that are at least as much soul as jazz, and the horns have a TV adventure theme-like flavor. The album's a little on the innocuous side, even for a genre (Prestige 1960s soul-jazz) that can be pretty homogeneous. It's easygoing background party music, though Holmes summons an interesting light, prickly, almost vibes-like organ sound at times, as on the solo for the cover of Marvin Gaye's "Ain't That Peculiar."
Derek St. Holmes is best known as being the vocalist and rhythm guitarist for the Motor City Madman, Ted Nugent. Derek’s voice is heard on some of Ted’s biggest hits, including “Stranglehold.” Brad Whitford is the ‘other’ guitar player in Aerosmith, often hidden in the shadow of the more visually iconic Joe Perry…
Patrick Gowers' score for the Grenada Television series about A. Conan Doyle's consulting detective has become almost as closely linked to Sherlock Holmes in the minds of fans as star Jeremy Brett (1933-1995). But those with no interest in Holmes can also enjoy this recording. Gowers' musical eloquence is richly displayed in these widely diverse, yet cohesive, tracks. Gowers begins the recording with "221B Baker Street," the vivacious theme (performed on Holmes' instrument, the violin, by Kenneth Sillito) that brings to mind Holmes' classic alarm call, "Come, Watson, come! The game is afoot. Not a word!" The cohesiveness of the album comes from Gowers' variations on this theme found throughout the rest of the recording. But the diversity within this cohesiveness is what is remarkable.