Features the high-fidelity SHM-CD format (compatible with standard CD player) and 24 bit remastering. Early Blue Note work from the legendary Bobbi Humphrey – a session cut before she hooked up with producer Larry Mizell, but one that's still got a righteously soulful vibe! The arrangements here are by Wade Marcus, but he still has the great idea of giving Bobbi a bit more expanded sound in the background – a full mix of sounds that lets her flute step out in the lead and find its own soulful space on the solos – all with a wonderful style that definitely marks Humphrey as one of the freshest jazz flute talents in years! The other players are all pretty hip too – and include Lee Morgan on trumpet and Billy Harper on tenor – who'd both played with Bobbi on one of Lee's late Blue Note dates – and titles include a version of Eddie Harris' "Set Us Free", plus "Sad Bag", "Don't Knock My Funk", "Journey To Morocco", and "Ain't No Sunshine".
Features the high-fidelity SHM-CD format (compatible with standard CD player) and the latest 24bit 192kHz remastering. A stone killer from funky flute player Bobbi Humphrey – one of her early albums for Blue Note Records, and a set that's a perfect summation of the best sides of her talents! The album's got a slightly different feel than Bobbi's work with Larry Mizell – yet still sports a similar approach that blends her amazingly spiritual flute lines with rich larger backings – in this case arranged by Horace Ott, Alphonse Mouzon, and Wade Marcus, in a sublime blend of electric jazz and soaring strings – all with a feel that's almost like some lost blacksploitation soundtrack!
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.