When the Grammy Nominations were announced,
, one of the most exciting and musically creative entertainers to ever appear on a stage said the following, “This is an incredible feeling and a real achievement for everyone who made the album (“Rendezvous”) happen. “As you know, this was a long process, and receiving a Grammy nomination is something we really did want, even if we felt we didn’t want to jinx our chances by talking about it.”
On his way to New York City and the Grammy festivities, Clint made a performance pit stop at the RRazz Room at Mizner Park Cultural Arts Center in Boca Raton Florida. Just as he thrills audiences at his home base on the stages of Las Vegas, Clint’s show had the Florida audience witnessing a performance they will long be remembering. Never is the word “artist” more accurately applied when describing Clint Holmes. Clint doesn’t just sing the song, he becomes the song. Clint just doesn’t have some of best musicians and arrangements to cloak his awesome vocal ability, he infuses every fiber of his body and becomes an integral part of the melodic and harmonic structure of any tune he chooses to sing.
Clint’s pit stop Florida crew were a superb group of musicians who performed musical arrangements by his usual musical director Christian Tambour flawlessly and with originality. On this Florida engagement at The RRazz Room were Scott Giddens (piano/music director), Jamie Ousley, (bass), Ryan Necker, (drums) and Brian Lynch, (trumpet)
Although his career spans four decades Clint Holmes is in the midst of a significant breakthrough. Having spent the last 20 years as one of Vegas’s most successful entertainers, he has, over the last several years, achieved tremendous acclaim with solo shows all over the country.
About “Rendezvous,” he says, “I was twelve and it was a true coming of age moment for me. I had never seen my dad in his world. He worked three jobs and never seemed happy until I saw him in this element. I fell in love with jazz and how cool it felt to interact with the ‘cats’ the way my dad did,” said Holmes, the son of an African-American father and a white British mother who was a classically-trained opera singer.
With jazz timing and phrasing informing his velvety tenor croon on eleven cuts, including three new songs that he co-wrote, Holmes surrounded himself with a royal herd of jazz “cats” on the collection that was produced by two-time Grammy winner Gregg Field.
(For another article by Stephen & complete photos of the show go to Broadwayworld.com