Will Downing
Soul Symphony
Artist Interview by: Nina Goodrich
November 2005 -
It’s no surprise Will Downing hit the charts as soon as his new album, Soul Symphony, hit the airwaves. Downing has been basking in success since the 1980s, with his rich as honey, smooth as silk, baritone voice, drenching each song with a flavor all his own. Always deep, always himself, surviving the fads of the moment; yet, thriving with each new album release.
Known as the Sensual Music Man of the midnight hour, Downing is still down to earth, aware that success can easily be a fleeting thing for even the most skilled artist.
JazzReview: So, tell me about your new CD, Soul Symphony. Who inspired it? Who initiated it?
Will Downing: It’s my 12th CD and what inspired me initially, was to just be better each time I go out—perform. It isn’t one thing, like Marvin Gaye on “What’s Going On.” There’s not a theme that runs through the record. Basically, every time I get behind a microphone, I try to do better than I did the time before.
I think we achieved it. I think we found better songs and I think the performance is better. The last CD we put out was excellent, but this time we found even better songs, gave better performances; and, that’s what keeps me going.
JazzReview: So, you pretty much challenge yourself?
Will Downing: Oh yes, you have to. You should never become complacent. You should never get to the point of ‘Oh, I guess I’ll do another record and this is what they want, so this is what I’ll give them.’
JazzReview: Yes, you kind of lose the fire when that happens. Then, it’s time to take a vacation.
Will Downing: Exactly!
JazzReview: On this album you co-produced with Rex Rideout, who did a tribute to Luther last year. How did you choose Rex? Also Chris Davis and Ronnie Garrett. How did you choose these performers?
Will Downing: I’ve done the last four or five records with Rex. He’s wonderful; so that was a no-brainer. The old adage, ‘If it ain’t broke, don’t fix it.’ And, Chris Davis is an excellent producer as well. I’ve had the pleasure of working with him on several records. He worked with me on the Christmas record and the Emotions record, as well. And Ronnie Garrett I’ve worked with over the years, also. We have had a lot of success working together. I felt there was no reason to change it up.
JazzReview: You did Luther. Nobody does Luther; they’re all scared. How did you get the courage to do this song?
Will Downing: Well, initially, that was my response. There are a couple people on this planet you just don’t mess with. And, to me, he was one of those people. Once he does a song, it’s been done!
I got this call to do this concert at Madison Square Garden. They were doing a fund raising concert “Forever, For Always, For Luther,” and they wanted me to sing. They were trying to re-create the concert that was given for Luther about a year ago. All the songs I normally would have picked, like “Never Too Much” or “A House Is Not a Home”—they were taken. So, I said, “there’s really not much left for me to do.” And, they said, “Well, there’s “Superstar.” I said, 'Well, I’ll give it the old college try.' And, that’s exactly what I did.
JazzReview: You carried some of those notes very closely. I really had to listen because you came so close to sounding like Luther. Nobody does that!
Isn’t Chris Davis the one they call "Big Dog?" And, weren’t you just featured on a song on Najee’s new album, “My Point of View?”
Will Downing: Yes. I think it’s called “3 AM" or something like that.
JazzReview: Each track on this album is soulful and sexy. You stepped way out when you did Luther’s tune. Do you think you would ever do another Luther song?
Will Downing: Probably not. With utmost respect, I’m of a mindset that once he’s done a song, it’s been done. You can add your own slant to it, but once he’s done a song, people pretty much know it as his song. Even “Superstar.” No, it’s not a Luther song; it’s a Carpenter’s song. But once he did it, it became a Luther song.
JazzReview: Stevie Wonder’s influence is clearly heard during “A Promise.” How much of your work is influenced by Stevie Wonder?
Will Downing: That song was written by a gentleman named John Stoddard and that question would be best suited to him. I think that’s the way he mapped the song out for me. I may have put my own spin on it.
JazzReview: I see. Also, “Soul Stepping” is a perky little number, picking up the tempo. But, you are still smooth. That’s ability.
You are no stranger to success. You are called the Sensual Music Man of the Midnight Hour. And, you have a legacy that has survived the hip-hop and rap generation. Plus, you thrived during this period. You’ve been cool and smooth from the beginning, as a performer. You’ve stayed on top of the charts in jazz, R&B and blues. How do you continue to be a success without altering who you are?
Will Downing: Well, I think I did what record companies tell you not to do. If it were up to a record company, they would want you to change with the changing times. They would have the artist change with the music—now rap is hot, let’s get someone to come do a rap for your record: that sort of thing.
I’ve never been one to do that. My thing is: be yourself. I learned who I am and what I do very early in my career. I’ve always been of the mindset that nothing can beat a good song. And, up-tempo songs always change with the times. Six months from now, what the kids are dancing to will be old school. They change.
But, a mid-tempo and a ballad last forever. Technically and sound-wise there may be little differences. But, as far as song content and performance, a ballad lasts forever. And, this is what I do.’
JazzReview: This is true. And, you’ve managed to stay on top with this philosophy. You have enough variation in your voice and in the songs you choose to be new and fresh each time.
Will Downing: Well, that and finding good songs and being lucky as well. I’m a realist. There are a lot of people out here with more talent than me. I’ve been lucky. There were times in my career when my name was on the chopping block. But, being in the right place at the right time. I clearly remember a time I was suppose to be let go and a buddy of mine –a friend from high school became president of Motown. He saved my behind. My name was on the list and he chose to keep me. It’s certainly God looking out for me.
JazzReview: I really enjoy your work. Along with your velvety voice, and brilliance in song writing, you’re an outstanding photographer.
Will Downing: Outstanding is a matter of opinion. (chuckle)
JazzReview: You’re publishing a coffee table book titled “Unveiled”
Will Downing: Right. It’s portraits and live pictures of my counterpart--my contemporaries. People like Gerald Albright and Diane Reeves, Chaka Khan, Bob Baldwin; a host of people.
Basically, if I have an opportunity to get with these people one on one, I do portraits. I go to them or they come to my studio and we’ll shoot. The live situation is based on whether or not I’m doing a show with them. I try to capture them in action. I stand in the wings and shoot or go to their dressing room.
JazzReview: I’d like to know where could we obtain this book?
Will Downing: I’m hoping the printing will be finished sometime in mid November. Just go to my website www.willdowning.com. People can order from there and we’ll be selling at concerts.
JazzReview: Can you tell me about some of the artists you work with for Philadelphia’s Art Jaz galleries?
Will Downing: That’s incorporated into the book as well. I’ve given the opportunity for seven or eight young artists, male and female, from all over the country, to show their wares on a more national level. Art Jaz is a gallery I work with that basically has a stable full of artists, whom they represent. We just have included 8 to 10 art pieces into the book, so they can become known on a more national level.
JazzReview: That’s exciting. You reach back into your community in other ways, also. Your sensitivity shows in other areas of your life, like you being a spokesperson for the American Stroke Association. How did this come about? Have you had experience with someone who had a stroke? Someone touched your heart for you to step into that spot? (www.americanstrokeassociation.com)
Will Downing: How that came to me was another God-given sort of thing. I was called to do a voice- over for commercials for the American Stroke Association. The guy producing the commercial was impressed because it sounded so good. So he asked me if I would be interested in being the national spokesperson. They were trying to make it a major campaign to inform the African-American community and bring awareness of strokes.
Again—the right place at the right time!
JazzReview: It sounds like your life is guided-–somebody wants you where you are.
Will Downing: Without a doubt, all I have to do is look back at my experiences and I know this is not something I can take credit for.
JazzReview: You are a star without a star attitude. You are very down to earth.
Will Downing: Well, like I said before, there are a lot of talented people out here. I know just as easily as it came, it can all be swept away in a moment. I don’t take anything for granted. I don’t fall into that whole star mentality. I’ve been blessed --making a living doing what I enjoy. But, if you ever see me installing cable at your house—it just means things have changed. (a deep, heartfelt, chuckle)
JazzReview: What are your plans—where can your fans find you?
Will Downing: The easiest way is to go to my website. We also have a forum there so we discuss music and what’s upcoming. The Stroke Association or the American Heart Association can be reached from there also.
JazzReview: Is there anything you would like your fans to know?
Will Downing: I want them to know I’m just an ordinary guy with a job I love.
For more information: http://www.willdowning.com
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