Will Downing Albums (14)
What The Critics Say
Will Downing has become an institution. Beginning with his self-titled debut in 1988, he has consistently cut singles and albums that have entered the charts and remained there, no matter how many trends have come and gone or how much the nature of the music business has changed. There's a reason for this: Downing is a classic urban R&B singer. His gorgeous smooth, deeply personal delivery connects emotionally with the listener; his song choices are more often than not excellent; and his arrangements and production teams are extremely sophisticated in that they consistently understate his talent, drawing the listener in gently but intently. The title of his 2009 effort, Classique, produced by Downing and Rex Rideout, may be a bit misleading: it is not a compilation but a brand-spanking new collection of contemporary jazz-inflected R&B -- in other words, classic Downing. The album's first single, "Something Special" -- with its hand drums, loops, and slippery flute flitting around a well-placed and subtle horn section with Rideout's sexy keyboards and Darrell Crooks' guitar cutting under the mix -- is at its core a popping midtempo love song. Elsewhere, his cover of Barry White's "I'm Gonna Love You Just a Little Bit More Baby" reveals just how deep the master's influence is on Downing. He may not have the full depth of White's baritone, but he gets close, and his expressiveness and emotional connection to the song make it shine. The completely old-school Marvin Gaye ballad "Baby I'm for Real" features a duet appearance by Phil Perry. It's convincing and utterly gorgeous. But not only do the covers work here; Downing's originals connect too -- and not just the aforementioned single, but "Love Suggestions," "Ride," and "Let's Make It Now" also reveal the depth and breadth of Downing's songwriting. Classique is indeed everything its title claims it is, and perhaps more. This is old-school urban R&B without a hint of nostalgia or pandering gimmickry. ~ Thom Jurek, All Music Guide
What The Critics Say
Life has a way of throwing really slippery curveballs. Urban soul singer Will Downing released 2005's Soul Symphony on the GP imprint to great reviews and went on his way. The record did reasonably well for an independent. 2006 saw the release of his volume in the 20th Century Masters collection by former label Universal (an insult when somebody is still making vibrant music in the 21st). But in 2007 Downing was struck with polymyositis, a debilitating disorder that causes weakness in joints and muscles from neck, trunk, limbs, and can completely incapacitate anyone afflicted with it. The condition is treatable but affects everyone who gets it differently; it usually lasts from two to three years. Downing states in his liner essay that it took away his ability to function on his own, leaving him unable to use any of his limbs and that he recorded the majority of his vocals from a wheelchair. It's hard to believe. From the slippery nocturnal cinematic funk in "Will's Groove" to the gorgeous "After Tonight," a sexy mid-tempo groove ballad with a hook to swoon for a couple of tracks later, it's clear from the outset that Downing lost none of his vocal power and his unique touch with the sultry in soul. Produced by Downing, longtime bandmate Rex Rideout, and Noel Goring, the disc is a very solid collection of new soul tunes with, of course, love and sensuality as their central themes with one exception: "God Is Amazing." There are a couple of fine guest spots here, too. "Lover's Melody" features killer vibes work by Roy Ayers -- including three fine solo breaks -- and excellent backing and harmony vocals by Lauren Evans and Mabvuto Carpenter. Smooth jazz sax great Gerald Albright jumps in on "No One Can Love You More" with excellent interplay between him and drummer Michael White. In addition, Kirk Whalum makes it happen with his horn on both "All I Need Is You" and a fine reading of Bill Withers' "You Just Can't Smile It Away." The craft on this set is not only consistent, but it's even a notch above Soul Symphony, despite the personal diversity experienced in its recording. The proof is in the writing as well as the execution, as Downing is back to writing a lot, and here he co-writes all but a pair; the seamless transitions between cuts are a testament to his continued power as a champion purveyor of quiet storm soul. (Just a thought: if Downing ever gets the bug again, it'd be great to get an album full of those infectious, tight-groove smooth jazz tunes à la "Will's Groove." He'd gain an entirely new audience probably without losing his old one.) ~ Thom Jurek, All Music Guide
What The Critics Say
Two years after Emotions and three after his exceptional Sensual Journey, singer/songwriter and producer Will Downing returns with Soul Symphony. There is something utterly timeless about Downing's approach. His new soul m.o. brings his mellifluous baritone to the listener in a silky smooth yet beat-driven tunnel of emotive reflection that goes right to the heart. Once more, Downing surrounds himself with the cream of the studio crop, like guitarist Wah Wah Watson, Rex Rideout on keyboards, and bassist Melvin Davis, just to mention a few. Downing wrote only about half the album this time out, and on these tracks he collaborated with bandmembers who wrote the majority of the rest. The album's beautiful hinge is the cover of Bonnie Bramlett and Leon Russell's "Superstar." But the slippery syncopation of "Crazy Love" and the shimmering acoustic guitar and hand drums that drive "Heart of Mine" are stellar as well. There isn't anything radically new here, but why should there be when Downing has reached as close to perfecting his sound as he's going to get? ~ Thom Jurek, All Music Guide
What The Critics Say
Will Downing moves to a new label and takes romance to new heights on Sensual Journey. The dynamic singer/songwriter and producer is joined by a stellar constellation of musical stars on 11 inspired ballads that will warm even the coldest heart. Downing's proven composing skills are again at their best on such heartfelt tunes as "Home," "Almost Like Being in Love," and "Maybe," to attest to his ability to tell a great story. Best bets are the radio friendly "Cool Water" and"Can't Help It," which present Downing's sophisticated baritone vocals in undiscovered arrangements. Another emphatic arrangement is the mellifluous approach to Brenda Russell's "Don't You Talk to Me Like That," which features Vinx's unique scatting and Downing's one-of-a-kind interpretation of a very personal matter. Despite its title, it is one of the prettiest tunes on the CD because of Stefon Harris' sensitive vibraphone solo. As the CD closes, Will Downing takes his listeners from Brooklyn to the Caribbean via the inspired "Brooklyn Breezes" -- which he co-penned with Kashif -- and "Bolero Nova," a slow, sentimental bolero done with a modern spin. Downing definitely captures the essence of contemporary jazz, classic R&B-soul singing, and the Latin tinge on this excellent recording of his vocal mastery. And so another theme, another concept for the continuing journey into Downing's vast repertory. However, these 11 stories of love with their beautiful harmonies and lush melodies set Sensual Journey apart from his previous efforts because of the splendid musical accompaniment and variety of gorgeous ballads. ~ Paula Edelstein, All Music Guide
What The Critics Say
All the Man You Need was hailed as Will Downing's return to R&B music. Though after a listen, there isn't a huge difference between this album and his R&B/smooth jazz-oriented recordings of the mid- to late '90s; which isn't a bad thing. Though the beats may hit a little harder and there's more adherence to R&B ballad song structure, the focus is still on Downing's warm baritone vocals, soothing production, and good songs. The singer makes fine use of a soaring sample from Noel Pointer's cover of Stevie Wonder's "Superwoman" on the breezy "Share My World." Other highlights are "Real Soon," the Downing/Chante Moore duet "When You Need Me," the snappy, ultra jazzy "Tired Melody," a string-laced cover of Bill Withers' "Grandma's Hands," and the smooth, skirting title track. Fans of Will Downing and adult-oriented R&B music will be thoroughly pleased. ~ Ed Hogan, All Music Guide
'Pleasures of the Night'
Release Date 9/29/1998
Tracks 10
Label Verve
See Album Tracklist and Review
What The Critics Say
Although saxophonist Gerald Albright gets co-billing on this CD and two of the ten selections are instrumentals, this is very much a Will Downing vocal set. The emphasis is on romantic ballads; in addition to some newer material, it includes some older songs like "The Nearness of You," the Beatles' "Michelle," "The Look of Love," and "We'll Be Together Again." Downing has long had a strong, warm, and deep voice, and this type of outing is perfect for him. The performances, although touched a little by jazz, are really a soulful blend of middle-of-the-road pop music. The co-leaders are joined by a variety of top rhythm section players, including pianists John Beasley, Bobby Lyle, Patrice Rushen, and Ronnie Foster. This CD serves as an excellent showcase for Will Downing's voice. ~ Scott Yanow, All Music Guide
What The Critics Say
Invitation Only is another typically tasteful and accomplished set of smooth jazz and urban R&B from Will Downing, who has recorded with a diverse set of musicians -- including Gerald Albright, Norman Brown, Kirk Whalum, Jonathan Butler and the Yellowjackets -- in support. The album is divided between standards, quiet storm R&B and new contemporary R&B. While there are still a few slow spots on the record where the style takes precedent over the material, Invitation Only once again confirms that Will Downing has such a rich, deep talent that he should be a much bigger star than he is. ~ Leo Stanley, All Music Guide
