Bobbi Humphrey Albums (11)
What The Critics Say
The third and final collaboration between flutist Bobbi Humphrey and Larry Mizell also marked the end of Humphrey's five-album run with Blue Note Records. Humphrey began recording with Larry and his brother Fonce (who provides arrangements and plays clavinet and trumpet here) in the aftermath of Donald Byrd's Black Byrd, the collaborative jazz-funk effort that resulted in a massively successful (and influential) commercial breakthrough for the trumpeter and the label. While not as well known as her Blacks and Blues album, her stellar debut with the pair from 1973, Fancy Dancer is every bit its aesthetic equal. The Mizells lined up a serious crew of studio aces for the date, including trumpeter Oscar Brashear; trombonist Julian Priester; Tyree and Roger Glenn on saxophone and piano, respectively; pianists Skip Scarborough and Jerry Peters (who were part of an army of them on this date); drummer Harvey Mason; bassist Chuck Rainey; and even the great Dorothy Ashby on harp. Recorded at their Sound Factory studio in Los Angeles, Fancy Dancer is a seamless collection of seven tracks that cruise the distance across soulful fusions of funk, Latin grooves, electric jazz, and gauzy vocal choruses that offer a hint as to what the underground dancefloor scenes of Los Angeles and New York were offering in at the predawn of the disco era. Humphrey's flute playing feels effortless as she hovers around and plays through the layers of spacy keyboards, shimmering rhythmic pulses, and seductive textures provided by lilting voices, hand percussion, and breaks. The set comes popping out of the gate with the glorious "Uno Esta," featuring bank upon bank of warm bubbling keyboards, roiling basslines, and hand drums courtesy of Mayuto Correa's congas. Craig McMullen and John Rowin contribute some bright chunky guitars, and Larry lays a fine horn chart in the cut as Humphrey begins the first of three solo breaks. When the chorus comes in, the rhythm shifts; the vibe get funkier but never loses the sheen and polish in the mix. Following this is the stunning Chuck Davis number "The Trip." Commencing with a cut-time funk break, wah-wah guitars, and three different synth harmonic lines all painting a nocturnal spaced-out groove, Humphrey begins to play fills around and through them. A Rhodes enters and the drums become more pronounced in the mix, just as a guitar begins to play contrapuntal fills under her flute. This is one of the greatest tracks in her catalog because it is simultaneously dreamy and sensual and offers enough head-nodding funk to seduce an army. The title track feels more laid-back at first with its gentle chorus. But some flipped-out psychedelic soul finds its way through in waves of Latin percussion that build a shelf under Roger Glenn's vibes break, which in turn sets up Humphrey's burning flute solo prefiguring a salsa piano line and furious hand drumming in syncopated grooves. "Mestizo Eyes" is a steamy, lusty babymaker with simmering, ratcheted intensity as Rainey's fat-bottom electric Fender bassline belies the chunky wah-wah guitars and synth strings and Dorothy Ashby's harp floats through the center. A chorus of male voices softly chants the title and Humphrey goes to town, rhythmically undulating her solo through the entire mix. There isn't anything approaching a middling moment here -- this is all killer, no filler. Jazz critics may have had their troubles with this set, but no one cared; Humphrey and the Mizells were creating a new kind of largely instrumental funk that was inclusive of everything they could weave in from world music to soul-jazz to club music to pop -- and the public responded. [In 2008, Fancy Dancer was released domestically on compact disc as part of the Michael Cuscuna-produced Blue Note Rare Grooves series.] ~ Thom Jurek, All Music Guide
What The Critics Say
Named after Duke Ellington's classic "Satin Doll" -- which producers Fonce Mizell and Freddie Perren give a '70s feel here -- this delightful LP is further indication of Bobbi Humphrey's God-given gifts. "Ladies Day" is syncopated and spacy; Humphrey's flute stalks the groove like a hungry cat. Everyone seems awestruck on "San Francisco Lights"; the tribute to the Golden Gate City opens with some shimmering effects and never progresses above a waltz tempo. Like a good painting, something new is revealed every time you hear this one. Humphrey's sweet, sensitive soprano voice shines on "My Little Girl," a song about her baby girl. Beam with the new mom as she relates the joys her baby has brought her. A tasty rendition of Stevie Wonder's "You Are the Sunshine of My Life" is done in straight roadhouse style. The superb midtempo "New York Times" is cool contemporary fusion, and Humphrey blows in, out, around, over, and under the airy percolating track. You have no heart if you can't feel the pain on "Rain Again," a moody, somber instrumental. This album isn't as compelling as Blacks and Blues, but is far more impressive than the jazz fusion happening at the same time. ~ Andrew Hamilton, All Music Guide
What The Critics Say
Bobbi Humphrey scored her biggest hit with her third album Blacks and Blues, an utterly delightful jazz-funk classic that helped make her a sensation at Montreux. If it sounds a lot like Donald Byrd's post-Black Byrd output, it's no accident; brothers Larry and Fonce Mizell have their fingerprints all over the album, and as on their work with Byrd, Larry handles all the composing and most of the arranging and production duties. It certainly helps that the Mizells were hitting on all cylinders at this point in their careers, but Humphrey is the true star of the show; she actually grabs a good deal more solo space than Byrd did on his Mizell collaborations, and she claims a good deal of responsibility for the album's light, airy charm. Her playing is indebted to Herbie Mann and, especially, Hubert Laws, but she has a more exclusive affinity for R&B and pop than even those two fusion-minded players, which is why she excels in this setting. Mizell is at the peak of his arranging powers, constructing dense grooves with lots of vintage synths, wah-wah guitars, and rhythmic interplay. Whether the funk runs hot or cool, Humphrey floats over the top with a near-inexhaustible supply of melodic ideas. She also makes her vocal debut on the album's two ballads, "Just a Love Child" and "Baby's Gone"; her voice is girlish but stronger than the genre standard, even the backing vocals by the Mizells and keyboardist Fred Perren. Overall, the album's cumulative effect is like a soft summer breeze, perfect for beaches, barbecues, and cruising with the top down. ~ Steve Huey, All Music Guide
What The Critics Say
A masterfully executed, eight-song set from lady flautist supreme, Bobbi Humphrey, her first since the 1989 Malaco Record release, City Beats. On "The Magic, the Music," the guitarist sounds hopelessly in love; his playing is fluent and equally matched by Humphrey's distinct tones, and a smooth male tenor who shines on vocals. Velvet and delicious best describe "Passion Flute," the mainstream title track, where Bobbi puts some added oomph into her performance, every note is clear and distinct, the lovely backing voices don't hurt the ears either. A surprise update of "Harlem River Drive," one of her most popular recordings, makes this essential. She first recorded it in the '70s; the new version is just as hammering and compelling. "Rainbows" displays the brilliance of Humphrey, the slow ballad will cause tears to fall; her soprano voice is as marvelous as it was on "Just a Love Child," from Black & Blues. Her vocal and flute work on "Tobago Nights" is borderline MOR with jazz overtones, and Bobbi makes it work. "Steppin' Out" is a sweet mid-tempo excursion. Her playing and singing show maturity and patience, but are as captivating as ever. ~ Andrew Hamilton, All Music Guide
What The Critics Say
A representative effort by flutist Humphrey, who delivers a jazz-pop sound. ~ David Szatmary, All Music Guide
What The Critics Say
While not a total disaster, Humphrey's move from Blue Note Records to the deep pockets and extensive distribution network of Epic Records, retarded instead of advancing her career. The most striking thing about Tailor Made is the dashing cover picture of Bobbi attired in a pinstripe suit, permed hair, made up beautifully, and looking as delicious as a double dip of gourmet ice cream. Compared to her Blue Note LPs, this is blatantly commercial, and the productions, some by Skip Scarborough, come off slick and plastic. ~ Andrew Hamilton, All Music Guide
