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Roberta Flack, timeless R&B singer-songwriter behind ‘Killing Me Softly With His Song,’ dies at 88

BBG News

88-year-old Roberta Flack, the Grammy Award-winning artist known for her soulful ballads and iconic 1970s hits like “Killing Me Softly With His Song” and “The First Time Ever I Saw Your Face,” passed away on Monday, leaving behind a lasting legacy as an enduring R&B singer and songwriter.

Spokesperson confirmed the passing of Flack, sharing that she died in tranquility, surrounded by her loved ones. The statement did not disclose the location of her death. Previously, Flack experienced a stroke in 2016 and later collapsed during a performance, causing her to rely on a wheelchair. In 2022, she was diagnosed with ALS (Lou Gehrig’s disease), which ultimately took away her singing abilities.

As a die-hard music enthusiast, I’d liken myself to the one and only Miss Flack – a classically trained virtuoso who revolutionized rhythm and blues with her timeless hits, which she affectionately referred to as “scientific soul”. This unique blend of raw talent, discerning taste, and tireless practice resonated deeply with listeners. Over the course of my career, I released almost two dozen albums, saw eight of my songs top the Billboard charts, and took home four Grammy Awards, among countless other nominations. Yet, despite these accolades, I’ve always considered myself a humble country girl who devoted herself to honing her craft, rather than seeking glamour.

“I made it 100% on music,” she said.

Music

85-year-old singer Roberta Flack has been confirmed to have Amyotrophic Lateral Sclerosis, a condition that currently prevents her from singing and makes speaking difficult, according to her representative’s statement on Monday.

In a modest fashion, that was just a glimpse of who Flack truly was. Reverend Jesse Jackson characterized her as socially relevant and fearless in the face of politics. The Washington Post asserted that she embodied the “Quiet Storm” a whole decade prior to it becoming a popular radio format, while NPR acknowledged her role as one of the key revisers of the American songbook.

In an interview with The Times back in 1973, she expressed that she didn’t desire to be a typical commercial artist. She emphasized that true success comes from one’s unwavering commitment to their artistic pursuits.

With a soaring, pristine tone, Flack truly shone on straightforward ballads, accompanied sparsely by instruments. Her musical resume was flawless: At just 15 years old, she was awarded a full music scholarship to Howard University due to her exceptional piano skills, and she became the first solo artist to win two consecutive Grammy Awards for ‘Record of the Year’.

Even though she was frequently underrated by traditional institutions and overlooked in mainstream music, despite the Fugees’ successful cover of “Killing Me Softly” from their album “The Score,” which sold multiple platinum records in 1996, it wasn’t until 2020 that Flack eventually received the Recording Academy’s Lifetime Achievement Award.

In 2020, she expressed to NPR that every action taken by an individual who identifies as Black in this nation seems like a battle for existence.

Growing up, Flack nurtured the ambition to become either an opera artist or a renowned pianist, yearning to perform at Carnegie Hall. Eventually, this cherished aspiration materialized in reality for him.

Her softer melodies conveyed a dreamy, romantic allure, captivating audiences to fully grasp her messages. She felt that her most impactful songs were narratives that resonated with listeners. She performed civil rights anthems at Jackie Robinson’s funeral and expressed love through songs during benefit concerts for AIDS research and inner-city educational initiatives.

At the start of her professional journey, she imparted musical knowledge to elementary school students. Simultaneously, she performed at a Washington D.C. nightclub during off-hours, which eventually led to her discovery. Her career gained momentum in 1970 when she was the lone guest on a Bill Cosby television special. The following year, she debuted “The First Time Ever I Saw Your Face,” a song that spent two years developing before earning a Grammy and attracting the attention of actor-director Clint Eastwood. He subsequently incorporated it into the soundtrack for “Play Misty for Me.

Back in the ’70s, my collaboration with the late Donny Hathaway resulted in some of my most cherished pieces, such as “You’ve Got a Friend,” “Where is the Love,” and “The Closer I Get to You.” We also created soulful renditions of “I (Who Have Nothing)” and the Righteous Brothers’ classic, “You’ve Lost That Lovin’ Feelin'”. Our duet, the poignant “Be Real Black For Me”, resonated deeply with listeners, serving as a powerful anthem for affirmation and tolerance. Tragically, Donny took his life in 1979 following a fall from a hotel room window. His death was officially ruled a suicide.

In 1980, Roberta Flack’s album “Roberta Flack Featuring Donny Hathaway” received two Grammy Award nominations: one in the category of Best Female R&B Vocal Performance and another for the song “Back Together Again.

Flack’s emotional maturity significantly contributed to broadening the modern understanding of Black music by incorporating a female perspective. This pioneering approach laid the foundation for artists like Lauryn Hill, Alicia Keys, and India Arie. Critics noted that Flack embodied the same intellectual depth and refinement for Black women as Joni Mitchell did for white women in their musical expressions.

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Voletta Wallace tirelessly strived to raise the relatively brief yet impactful music career of her son, The Notorious B.I.G., to legendary heights within hip-hop. Tragically, The Notorious B.I.G. was fatally shot in 1997, Los Angeles.

As a fervent cinephile, allow me to recount my own origins: I was birthed Roberta Cleopatra Flack on the 10th of February, 1937, in the humble town of Black Mountain, North Carolina. My parents, Laron LeRoy, a talented draftsman with a penchant for piano, and Irene Flack, a melodious choir organist at our local church, were the ones who brought me into this world. At the tender age of four, I found myself naturally drawn to the piano, and in no time, I was delving into the masterworks of Bach, Beethoven, Chopin, and Schumann.

In simpler terms, Flack saw herself as a diligent and persistent individual who valued self-analysis. As a child, she created an imaginary persona named Rubina Flake to help combat her shy demeanor. She showcased her talent in local churches and placed second in a statewide competition at the age of 13 with a Scarlatti sonata.

In her interview with The Times back in 1970, she shared that she was a diligent young learner and the competition had given her the sense of being a true master.

In Arlington, Virginia, where her family had relocated, she enrolled in the sole high school accessible to Black students. Later, she received a complete music scholarship at Howard University in Washington, D.C., and honed her piano skills there before switching her major to music education.

She openly acknowledged her longstanding battles with body image that caused her to hesitate about being photographed and occasionally impacted her self-esteem. Additionally, these issues influenced her performances, which she deliberately kept understated, using limited embellishments and spectacle.

As a devoted cinephile, I find myself exerting tremendous effort to captivate an audience with just my music. In a different scenario, perhaps if I were as renowned as Diana Ross, I might feel more comfortable expressing a touch of playfulness during my performances. This quote was shared in 1978 with The Times.

At the tender age of 19, she completed her studies at Howard University and secured her initial position teaching English literature in Farmville, North Carolina. Subsequently, she relocated to Washington, D.C., where she found herself balancing her daytime teaching duties with evening performances at local nightclubs, despite the fact that this went against the regulations of the school district.

She shared that she began singing songs she used to sing to children, as she recalled on NPR in 2006. For instance, she taught “First Time Ever I Saw Your Face” to her junior high school girls’ choir to capture their interest. By the time she reached the lyrics, ‘the first time ever I kissed your mouth,’ wow, the effect was incredible!

In simpler terms, Flack shared that it took great bravery for her to step out from the protective environment of the classroom and onto the stage. For a Black artist during that time, she expressed, “You needed a tremendous amount of courage and a powerful yearning to take such a step.

She first caught the attention of soul-jazz legend Les McCann during a charity concert in the summer of 1968. Impressed by her talent, he sent a recording to an acquaintance at Atlantic Records, leading to her debut album “First Take” being recorded in only 10 hours there. The album featured “First Time Ever I Saw Your Face.

According to the liner notes of the record, McCann stated that Roberta has an exceptional talent, not only as a vocalist but also as a pianist. This unique ability transcends any barriers and allows listeners to connect on a deep, human level where they can truly appreciate the music.

Initially, critics drew parallels between Flack and artists such as Nina Simone, Nancy Wilson, Odetta, and Judy Garland. However, when asked about it by The Times in 1970 following the launch of her second album, “Chapter Two,” she responded, “As long as there’s so much debate over who I resemble, I must possess a unique style of my own.

She was uniquely herself.

1972 marked the fulfillment of her long-held aspiration when she graced the stage at Carnegie Hall, a venue she had always yearned to perform works by Schumann, Bach, and Chopin. However, what she actually performed was her very own compositions.

In a 1975 evaluation of her career, The Times described her as being quite the contrary to her sweet ballads. Behind those melodies lay an assertive, articulate, and highly intelligent woman who was defying her delicate image.

In simpler terms, “She expressed her frustration to The Times, stating that when she asserts herself intellectually, many people become defensive. Unfortunately, some individuals hold prejudiced beliefs that entertainers or women are unintelligent, and this is especially true for Black women. She encounters these attitudes frequently and has had enough of it. Instead of undervaluing her intelligence, she refuses to do so.

Throughout a significant portion of her professional journey, the artist known as Flack released albums under her own name, such as “Feel Like Makin’ Love” from 1975 and “Blue Lights in the Basement” from 1977, using the playful alias Rubina Flake. In those days, female African-American record producers, including prominent figures like herself, were scarce.

Even though Flack would be the one making the creative decisions, selecting her own material, picking the arranger and attending mixing and overdubbing sessions, she emphasized her dedication and precision as a musician. “I’m a disciplined and detail-oriented artist,” she said. “Having been trained in classical music, I’m accustomed to spending extensive time perfecting my work before executing it.” She went on to say that some artists might complete an album within a week, but their work often reflects this quick timeline.

Following her passing, Hathaway often collaborated with the harmonious singer Peabo Bryson. Their first collaboration was on the “Live & More” album in 1980, followed by “Born to Love” in 1983. After these initial projects, they worked together on numerous tours.

Over time, Flack’s classic tunes started outshining her more recent work, which critics often labeled as “heavy and uninteresting.” Critics, however, were particularly severe in their appraisals of her 1991 album “Set the Night to Music,” despite its title track duet with Maxi Priest being a massive hit.

In 1994, I steered clear of my previous techno-R&B formulas and instead opted for a fresh direction with my album “Roberta,” which featured covers of popular pop and jazz tunes. This shift earned me another Grammy Award nomination. Fast forward to 2012, I paid homage to the Beatles with the release of “Let It Be Roberta,” a collection of their songs.

As a seasoned movie reviewer, I found myself captivated by the life story of this remarkable artist. After bidding farewell to the global stage, she remained dedicated, rehearsing weekly with her musical director and vocal coach. This was no mere retirement, but a transition, as she immersed herself in various creative projects.

Among these endeavors were a documentary film, a biography, and a children’s book titled “The Green Piano,” inspired by her own experiences. The narrative of her life unfolded in these works, offering a unique perspective into her journey.

Her union with jazz bassist Steve Novosel resulted in the birth of a son, but their relationship eventually came to an end through divorce. Despite the ups and downs, this artist continued to compose music and share her story, leaving an indelible mark on the world of entertainment.

Apart from her accomplishments, she established the Roberta Flack Music School within the Hyde Leadership Charter School in the Bronx, offering a complimentary music education program for underprivileged children. In 2010, she created The Roberta Flack Foundation to champion causes like animal welfare and music education.

As a cinema enthusiast, let me put it this way: In 1989, when speaking with the Washington Post, I made it clear that my longevity and success are rooted in my unwavering commitment to my personal beliefs and experiences. I’m not just any Black artist; I sing authentically, distinct from the powerhouse vocalists like Aretha Franklin or Chaka Khan. I am proud of who I am, and I refuse to alter myself to conform to anyone else’s expectations.

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2025-02-24 19:02

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