Personnel: Will Downing (vocals); Ira Siegal, Norman Brown, Wayne Bruce, Dwight Sills, Phillip Hamilton, Paul Jackson, Jr. (guitar); Gerald Albright, Kirk Whalum (tenor saxophone); Nicholas Payton (trumpet); Chris Davis, Rex Rideout, George Duke, Barry Eastmond, Ronnie Foster (keyboards); Dwayne 'Smitty" Smith, Alex Al, Melvin Davis, Ronnie Garrett, Ron Jerkins (bass); Michael White, John Robinson, Bernard Davis (drums); Luis Conte, Bashiri Johnson (percussion); Isaac Coleman, Kim Brewer, Nikki Richards (background vocals).
Producers include: Will Downing, Chris Davis, Ronnie Foster, Rex Rideout, Barry J. Eastmond.
Personnel: Will Downing (vocals, background vocals); Dwight Sills, Ira Siegel, Philip Hamilton, Norman Brown, Paul Jackson, Jr. , Wayne Bruce (guitar); Gerald Albright, Kirk Whalum (saxophone); George Duke, Rex Rideout, Ronnie Foster, Chris "Big Dog" Davis (keyboards); Mike White, John "J.R." Robinson , Bernard Davis (drums); Luis Conte, Bashiri Johnson (percussion); Darcy Aldridge, Audrey Wheeler Downing, Tyrone Corbett, Isaac Clemmon, Gordon Chambers, Kimberly Brewer, Lauren Evans, Nicki Richards (background vocals).
Audio Mixers: Erik Zobler; Charles "Prince Charles" Alexander ; Ray Bardani; Bryan New.
Recording information: Bimmer Studio; Knoop Stusio; LA FX; Quad Studio; Shelter Island Studio; The Hit Factory, New York, NY; Track record; Unique Studio; Zobiz Studio.
Photographer: Kwaku Alston.
To the untrained eye, silken-voiced Will Downing may seem merely an R&B journeyman, making solid, soulful records year after year, just on the edge of stardom. However, there has to be more to an artist whose first hit single is an update of John Coltrane's "A Love Supreme." And, indeed, EMOTIONS, the singer's tenth album, features a jazz undercurrent (no, not Kenny G "jazz"), sincerely channeling the spirit of Bill Withers and Al Green records past.
EMOTIONS opens with a tender jam (gutsily "for the fellas"), "A Million Ways," which asserts "making love ain't just in the bed." In this chronicle of the simple ways to please a woman, Downing creates such a smooth groove that the complexities of love seem rather basic. Later in the album, he manages to discover a new angle to the oft-covered "Hey There Lonely Girl," his baritone contrasting with the falsetto of the most famous version. Will Downing's been at it for decades, but he shows on EMOTIONS that after all this time, he can still summon up the most sensual recesses of the soul.