Bobbi Humphrey - Live At Montreux
Released - 1974
Recording and Session Information
"Montreux Jazz Festival", "Casino De Montreux", Switzerland, July 5, 1973
Bobbi Humphrey, flute; Kevin Toney, electric piano; Berney Perry, guitar; Henry Franklin, bass; Keith Killgo, drums.
14104 Virtue
14105 Sugar
14106 Sad Bag
14107 Ain't No Sunshine
Track Listing
| Side One | ||
| Title | Author | Recording Date |
| Virtue | A. Mouzon | July 5 1973 |
| Sugar | S. Turrentine | July 5 1973 |
| Side Two | ||
| Sad Bag | D. Griffin | July 5 1973 |
| Ain't No Sunshine | B. Withers | July 5 1973 |
Liner Notes
Perhaps one of the biggest moments at the 1973 Montreux Jazz Festival was when tiny Bobbi Humphrey walked on the empty stage, filling it with her enormous talent. Properly labeled a flautist, the feminine gender of flutist, Bobbi Humphrey displayed an articulate, gutsy sound as she naturally glided through a repertoire of melodic grace.
Bobbi hails from Dallas, Texas. She’s 24 years old and only stands a mere 4 ft. 11 inches. A graduate of Southern Methodist University, she majored in music and has played with the likes of Herbie Mann, Duke Ellington, Cannonball Adderley, and most recently Stevie Wonder. To refine her improvisation, Bobbi studied with the eminent Hubert Laws. Inked to Blue Note Records in 1971 by George Butler, Director of the label, she has recorded three albums, “Flute-In," “Dig-This," and her most recent hit recording, “Blacks & Blues."
The Montreux Jazz Festival is, without a doubt, the worlds most recognized aggregation of Jazz talent ever to assemble under one domain. The quaint, story-book town of Montreux offers its hospitality every year. A musicians’ haven, 1973 was no exception. It was the night of July 3, and Montreux was Cookin with Blue Note. With hopeful aspirations of ‘turning-on’ the European market with American Jazz talent, Blue Note featured the musicianship of Donald Byrd, Marlena Shaw, Ronnie Foster, Al Mouzon, Bobby Hutcherson, and Babbi Humphrey.
“Bonsoir’, is the opening greeting by Miss Humphrey as she delves into her first composition. “Virtue.” Backed by Donald Byrd’s rhythm section, the rough, highly spirited track spotlights Bobbi's ability to conquer the entire musical scale.
“Merci, Beaucoup.” The music continues. In the bluesy, sing-a-long tune, “Sugar, Bobbi’s fluency is pure soul. The rhythm section lays the foundation in which Bobbi’s crescendo manages to escape unnoticed while the Fender Rhodes of Kevin Toney stretches out.
Side one is over. Encore, encore, applause. applause. The mood changes. The music is slow, soft, and remorse as if the problems of the world were on Bobbi’s shoulders. Soon the space-like music lightens, and a solution is in sight. Bobbi’s fingering quickens, and the meter accelerates. The one-two swing enlightens the audience.
Bobbi’s sound is pure, unmolested. Kevin Toney’s undercurrent piano fills enhance in stature. Part three. The return to the solar-like emotion of Bobbi’s virtuoso playing. The flute demands that the introspective mind wander.
Bobbi Humphrey can ‘get-down’ for the contemporary standard, “Ain’t No Sunshine” does just that. Undefined funk, superb phrasing, and winded notes revitalize the familiar melody. The unexpected forceful supply of strength supports the imagination in her playing.
The International Festival in Montreux, Switzerland was gifted with her presence. Leonard Feather, author of New Encyclopedia of Jazz, in a review of the Festival says Bobbi was “...the surprise hit to date.” Her unpretentious. ungimmicked style and performance coupled with her motivational sincerity can only spell success for Miss Humphrey.
While Montreux may well be the heart-beat of Jazz concerts, Bobbi Humphrey was easily the pulse.
Jere Hausfater
Blue Note Records
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