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... from the Commodores performance at the International Saxophone Symposium January 25, 2002, Charlotte Crowley writes...
"Jordu," originally composed by Duke Jordan and arranged for this performance by Musician First Class Robert
A. Holmes, was a triumph of the evening, carried out with an almost hedonistic musical sensuality."
... from a review of "The Write Time " in The Washington Post, Mike Joyce writes,
"Chances are good you'll find "The Write Time" moving in the right direction. No stranger to Washington
jazz fans, tenor saxophonist Rob Holmes emphasizes his considerable skills as a composer and arranger on this recording in
a variety of settings that range from three to eight pieces. Particularly enjoyable are the more expansive arrangements, since
they not only allow for a broader palette of tones, they accomodate an impressive cast that includes trumpeter John D'Earth,
baritone saxophonist Glenn Wilson, guitarist Paul Pieper, and pianist Bob Hallahan. Like Holmes, many of his fellow musicians
have big band experience and sensibilities, which helps account for why even the album's lengthier pieces never want for color
and drive. Holmes almost single-handedly carries one tune with his expressive and limber tenor, the waltzing "Go Spell,"
and further distinguishes himself on Joe Henderson's "Serenity." However, when the size of the group grows to seven
or eight members on the album's title cut or on two other original compositions - "This Instead" and "Alegna"
- the musical rewards grow in kind."
...saxophonist extraordinare, Dave Liebman
writes about "The Write Time" ...
"enjoyed the CD - nice writing and wonderful sound!"
...from a review of "The looking Glass" in Jazz Times
Owen Cordle writes...
"The combination of Holmes' tenor and Paul Pieper's John Scofield - influenced guitar suggests a Stan Getz and Jimmy
Raney pairing for the 1990's. With Bob Hallahan (shades of Bill Evans) on piano, Mykle Lyons on bass, and Leland Nakamura
on drums, the ensemble mostly plays it cool, although the solos can heat up. Holmes' "Steep Grade" and "Feet"
(with the leader on soprano) have a smooth, contemplative, ECM - like quality. On the title cut, Holmes' tenor ventures into
Coltrane territory. There's lots of thoughtful playing throughout the album."
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...www.osplacejazz.com writes about "Turnstyles"...
"Fresh contemporary jazz ranging from the cool R&B sounds of "When To Consider That" and "For
Daze" to the smooth passion of "Two Friends" with vocals from Dawn Eleeza Robinson. They also capture a world
jazz feel on "Road Trip" with nice work on guitar from Dan Leonard. They wrap with an excellent soulful blues number
featuring vocals from Robinson backed by strong, rich harmonies and complimented by Rob's sax. All together, this is a nice
smooth jazz collection."
...from a review of "The Looking Glass" in The Washington Post, Mike Joyce writes...
"Saxophonist Rob Holmes's "The Looking Glass" provides more than its share of interesting reflections and
soul balladry, blues and swing. With the help of guitarist Paul Pieper, whose cool tone and temperment suggests the influence
of John Scofield, pianist Bob Hallahan, bassist Mykle Lyons, and drummer Leland Nakamura, Holmes uses his tenor and soprano
saxes to create music that neatly balances mood with momentum.
All but two of the eight pieces are original. "Amazing Grace" veers between church, soul and jazz waltz grooves,
while "Cedar Walton's descending theme "Firm Roots" taps into the fundamental appeal of blues and swing. It's
Holmes's own tunes, though, that best reveal his strength as a player who knows the value of restraint and economy. "Dranesville
Park" is a far more sensual vignette than it sounds and the soprano limned ballad "Steep Grade" has a similarly
quiet allure and lyricism."
Holmes has found compatible band mates in this setting. This is particularly true of Pieper, whose discrete shading and
spirited solos on "Back East" and "Feet" add considerably to the album's moody textures and swing interludes,
and Hallahan, who is often just as effective sustaining the drama and drive."
...from a review of "The Looking Glass" in The City Paper,
Christopher Porter writes...
The lyrical playing that characterizes saxophonist Rob Holmes' debut, "The Looking Glass" , is the sort of mellifluous,
introspective music that makes city summers easier to bear. The group's impeccable timing provides the perfect compliment
to Holmes' refreshingly minimalist melody lines. The disc displays a deep passion and understanding of group improvisation
- a welcome change in this age of neo-traditionalist flash."
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