Quiet Fire

Editorial Reviews

All Music Guide - Stephen Cook
Quiet Fire proves to be an apt title, as Flack's MOR-informed jazz and gospel vocals simmer just below the surface on the eight sides here. Forgoing the full-throttled delivery of, say, Aretha Franklin, Flack translates the pathos of gospel expression into measured intensity and sighing, elongated phrases. There's even a bit of Carole King's ashen tone in Flack's voice, as manifested on songs like "Let Them Talk," Van McCoy's "Sweet Bitter Love," and a meditative reworking of King's "Will You Still Love Me Tomorrow." The album's other high-profile cover, "Bridge Over Troubled Waters," features the ideal setting for Flack's airy pipes with a tasteful backdrop of strings and...
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09/15/1992 CD Fine ** WE SHIP DAILY (Mon-Fri) ** Free Tracking Information.

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Editorial Reviews

All Music Guide - Stephen Cook
Quiet Fire proves to be an apt title, as Flack's MOR-informed jazz and gospel vocals simmer just below the surface on the eight sides here. Forgoing the full-throttled delivery of, say, Aretha Franklin, Flack translates the pathos of gospel expression into measured intensity and sighing, elongated phrases. There's even a bit of Carole King's ashen tone in Flack's voice, as manifested on songs like "Let Them Talk," Van McCoy's "Sweet Bitter Love," and a meditative reworking of King's "Will You Still Love Me Tomorrow." The album's other high-profile cover, "Bridge Over Troubled Waters," features the ideal setting for Flack's airy pipes with a tasteful backdrop of strings and a chorus featuring soul songstress Cissy Houston Whitney's mom. Switching from this hushed sanctity, Flack digs into some groove-heavy southern soul on "Go Up Moses," "Sunday and Sister Jones," and an amazing version of the Bee Gees hit "To Love Somebody" this perennial number has been done by everyone from Rita Marley to Hank Williams, Jr.. Flack finally completes the modern triumvirate of southern music, adding the country tones of Jimmy Webb's "See You Then" to the Quiet Fire's stock of gospel and soul. And thanks to top players like guitarist Hugh McCracken, organist Richard Tee, bassist Chuck Rainey, and drummer Bernard Purdie, the varied mix all comes off sounding seamless. One of Flack's best.
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Product Details

  • Release Date: 9/15/1992
  • Label: Atlantic
  • UPC: 075678137822
  • Catalog Number: 1594

Album Credits

Performance Credits
Roberta Flack Primary Artist, Piano, Vocals
Sammy Turner Background Vocals
Ron Carter Bass
Hubert Laws Flute
Les McCann Background Vocals
Seldon Powell Tenor Saxophone
Chuck Rainey Bass, Electric Bass
Grady Tate Percussion, Drums
Corky Hale Harp
Ralph MacDonald Percussion, Conga
Gene McDaniels Background Vocals
Tasha Thomas Background Vocals
Joshie Armstead Background Vocals
Jim Bailey Background Vocals
Seymour Barab Cello
David Carey Vibes
Cissy Houston Background Vocals
Joel Dorn Background Vocals
Joe Farrell Flute, Alto Saxophone, Tenor Saxophone
Hilda Harris Background Vocals
Ted Hoyle Cello
Buddy Lucas Harmonica
Arif Mardin Background Vocals
Hugh McCracken Guitar
Kermit Moore Cello
Romeo Penque Flute, Soprano Saxophone
Terry Plumeri Acoustic Bass
Bernard "Pretty" Purdie Drums
George Ricci Cello
Billy Slapin Flute
Richard Tee Organ
Wally Kane Bassoon
Technical Credits
Roberta Flack Arranger
Deodato Horn Arrangements, String Arrangements
Joel Dorn Producer
Lewis Hahn Engineer
Arif Mardin String Arrangements, Flute Arrangement
Bruce Tergesen Engineer
Ronald Bright Contributor
Ira Friedlander Cover Design
Bill Eaton Horn Arrangements, String Arrangements
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  • Anonymous

    Posted October 1, 2010

    So enjoyable

    I had forgotten just how sweetly she sings. I love the selection of tunes, as well, and her interpretations of them. If you like early 70's soul with a jazz/gospel flavor -or even if you just like Roberta Flack -I recommend giving this album a listen.

    Was this review helpful? Yes  No   Report this review
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