Roberta Flack,a North Carolina native,had a somewhat complex beginning in music. A classically trained academic who represented the epitome of the college educated black mentality of civil rights era. Musically,she began as a student teacher and then a music teacher. It was jazz/funk innovator Les McCann who first discovered Flack performing in a Washington DC nightclub. The result of their meeting was her debut album First Take in 1969. She covered McCann’s song “Compared To What” on it. The album later on provided her with her first standard in “The First Time Ever I Saw His Face”.
Today she is best known for two things. One being her iconic collaborations with the late Donny Hathaway that produced songs like “Where Is The Love” and “The Closer I Get To You”. Her sound is noted for its vocal and instrumental nuance. As well as its strong and complex songwriting. It also tended towards the slow and most adult contemporary end of balladry as well. Therefore,uptempo soul/jazz/funk has seldom been a huge priority for her. Yet when she comes through with funkiness,its often some of the strongest music the genre ever produced. A great example is her 1971 song “Go Up Moses”.
Drummer Bernard Purdie,plus percussionists Ralph McDonald and Grady Tate hold down the chugging Afro Brazilian beat. And session bass maestro Chuck Rainy provides an in your face rhythmic bass line to the musical affair. That describes the basis of the entire song-with Hugh McCracken providing bluesy rhythm guitar accents after each bar or two. Flack sings the refrains herself,and is accompanied by a bass singing choir on the choruses. She also provides a spoken recitation over them on the bridge. Richard Tee’s gospel drenched organ brings the song back home as it fades away.
This song lyrically and musically an extension of the centuries old spiritual “Go Down Moses”,with Flack collaborating with jazz flutist John Dorn for the musical aspects and the Reverend Jesse Jackson for some of the lyrical content. Its definitely in the vein of the more spiritual end of the “people music” message songs that were beginning to emerge very strong during the later period of the funk process in 1969-71. It was also the opening song to her third album Quiet Fire. Flack’s earlier albums generally opened with a bluesy funk uptempo number. And this is one of the finest of the bunch.