(Jazz-Funk) [LP] [24/192] Bobbi Humphrey - Blacks and Blues - 1973, FLAC (tracks)

Blue Note BN-LA142-G vinyl;
Pro-Ject RM-5SE with Audio Tecnica AT440-MLa cartridge;
Speedbox power supply);
Creek Audio OBH-15;
Audioquest King Cobra cables;
M-Audio Audiophile 192 Soundcard;
Adobe Audition at 32-bit float 192khz;
clicks and pops removed with Click Repair on light settings, manually auditioning the output;
further clicks removed with Adobe Audition 3.0;
dithered and resampled using iZotope RX Advanced.
Converted to FLAC in either Trader's Little Helper or dBPoweramp.
Tags done with Foobar 2000 and Tag and Rename.

foobar2000 1.6.9 / Dynamic Range Meter 1.1.1
log date: 2022-01-17 01:14:57
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Analyzed: Bobbi Humphrey / Blacks and Blues
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DR Peak RMS Duration Track
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DR14 -4.20 dB -20.51 dB 6:35 01-Chicago, Damn
DR12 -2.46 dB -19.66 dB 7:54 02-Harlem River Drive
DR13 -2.27 dB -18.54 dB 6:36 03-Just a Love Child
DR12 -4.70 dB -19.81 dB 4:41 04-Blacks and Blues
DR13 -4.21 dB -19.44 dB 5:20 05-Jasper Country Man
DR13 -3.30 dB -19.39 dB 8:49 06-Baby's Gone
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Number of tracks: 6
Official DR value: DR13
Samplerate: 192000 Hz
Channels: 2
Bits per sample: 24
Bitrate: 4896 kbps
Codec: FLAC
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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.