A real Hammond/Leslie, you have to play it for a few years, then you start breathing with it, almost like a horn, the tubes almost create a 'blowing feeling' from it. that duo. Thats how my left brain conceptualizes it anyway with it's tubes and it's warmth!. The organ in a low frequency instruement and a leslie is crossed over in an interesting way.
add that warmth and it can be 'sine-wave heaven', really interesting place.....
In regards to this, I found that playing with the first three drawbars out for a long time helped somehow, that seemed to be my process as a kid looking back. . . .(though that doesn't have to be). I didn't start using the upper drawbars 'creatively' (though I did use them) until I spent a long time with that basic tone, then somehow after a long phase with that tone, I could create some sort of dualistic sonic palette in a process I still don't totally understand, a single note placed in an ensemble setting can change the sound of the band in a positive harmonic way but you have to be tastefully tied into the low end and the leslie speed and the high end all at once (even on Choral). Organ is great for high or low energy playing sonically, then harmonically it's a keyboard too and you can run the organ straight which is a whole nother thing!
it really can be healthy fun.
I enjoy it, it can be very relaxing also, even when the energy is up! Like a Gin and Tonic ensemble playing wise! You can burn too on it! Or chop on it!
That's the thing about the natural overdrive of a real B3 and a Leslie, it will actually, after time, tell you how to play it!
It's actually kinda weird that way, it IS the ultimate polyphonic synth in some weird way! And the amplification component is key!
I don't know if thats a tip or not. . . .