A Long Time Coming (CD - 2008)

Personnel: Wayne Brady (vocals, background vocals); Gerardo Hilera (violin); George Kim Scholes (cello); Andrew Radford (bassoon); David Ryan (trombone); Alex Al (bass instrument); Jamie, Carol, And James Jones (programming, drum programming, background vocals); Martin Kember, Martin Kember (background vocals); Paul Jackson, Jr. , Darrell Crooks, Tim Stewart (guitar); Philip Vaiman, Searmi Park, Gerardo Hilera, Razdan Kutumjain, Audrey Solomon, Ken Yerke, Kevin Connolly, Mark Robertson , Shalini Vijayan, Armen Garabedian, Josephina Vergara, Mario Diaz de Leon (violin); Matt Funes, Robert Brophy, Victoria Miskolszy, Thomas Dienner (viola); Larry Corbett, Kim Scholes, Steve Richards , Stefanie Fife (cello); Dan Higgins (bass clarinet, saxophone); Andrew Radford (bassoon); Ernie Watts, Joel Peskin, Keith Fiddmont, Bill Liston (saxophone); Gary Grant, Larry Hall , Warren Luening, Wayne Bergeron (trumpet); Yvonne S. Moriarity, Stephanie OKeefe, Brad Warnaar (French horn); David Ryan , James Sawyer, Alexander Iles, Andrew Martin , Bob McChesney, Craig Gosnell, Bruce Fowler (trombone); Robert Sanders (bass trombone); George Duke (piano, electric piano); Jason Pennock (piano, programming, drum programming); Randy Waldman (piano); Cat Gray (synthesizer, talk box); Dave Carpenter, Oskar Cartaya, Nico Carmine Abondolo, Michael Valerio (bass instrument); Gregg Bissonette, Teddy Campbell (drums); Robert Zimmitti (cymbals, timpani); Jamie Jones (programming, bass programming, background vocals); Reo (programming, drum programming); Jamey Jaz (programming, background vocals); Jack Kugell, Heavy Weights, Monty Neuble (programming); Cheaza Figueroa, Billy Walton, David Ryan Harris , Diane Gordon (background vocals).

Audio Mixers: Jaycin Joshua; Jason Pennock; Dave Pensado; David Rideau.

Recording information: Audio Resource Studios, Honolulu, HI; Capitol Studio B, Hollywood, CA; Digital Insight, Las Vegas, NV; Henson Recording Studios, Hollywood, CA; The Ice Box, Burbank, CA.

Arrangers: Jamie Jones; Suzie Katayama; Heavy Weights; Jack Kugell; Jamey Jaz; Jason Pennock; Jamie, Carol, And James Jones; Jeremy Lubbock; Jerry Hey.

On his assured 2008 debut, A LONG TIME COMING, actor Wayne Brady offers up an engaging set of pop-leaning R&B tunes. While certain tracks are steeped in of-the-moment slick production (see the hip-hop-tinged "All Naturally"), much of the album features Brady nodding to the expansive R&B sounds of past decades, particularly on the smooth, quiet storm-like "Ordinary" and the Motown-influenced "I Ain't Movin'." In an inspired move, Brady reinvents the Beatles' "Can't Buy Me Love" as a gentle slow jam, and presents a reverent take on Sam Cooke's "A Change Is Gonna Come," not only showcasing his full, dynamic voice, but highlighting his considerable interpretive skills as well.

Take the title to Wayne Brady's full-length singing debut as bombastic -- as in "the great Wayne Brady will finally grace us with song" -- and you're missing the point and more importantly, the charm. One listen and A Long Time Coming instantly feels like a reference to Brady's enthusiasm over living the dream, recording R&B that's influenced by Babyface and Luther Vandross, plus a bit of what came before with a touch of adult contemporary. This is grown folks music with a demographic that matches daytime television's but it's hardly contrived. In the case of "Can't Buy Me Love," it's quite inspired with Brady turning the Beatles' chestnut into a slow jam ballad, one perfect for whatever "Pillow Talk" show the local R&B station airs on weeknights. High-top fade and moms who wouldn't let you get Jheri curls are the sweet memories that fill "Back in the Day," a giddy highlight that doesn't blush when gushing over Thundercats, friendship bracelets, and "Members Only/Kid 'N Play/That's how we did back in the day." Just as good and even more old-school is "I Ain't Movin," a finger-snapping mod-soul song featuring authentic farfisa organ and tambourine. With an orchestra behind him, Brady does just fine when walking on hallowed ground and delivering "A Change Is Gonna Come" in way that's both respectful and obviously enamored with Sam Cooke's performance. "F.W.B." stands for "Friends with Benefits" giving the album its raciest moment, with "Ordinary" and the previously mentioned "I Ain't Movin'" both singing the praises of long-term monogamy. Going where Usher won't, the wholesome "All Naturally" gets sugary about that "just woke up" look with "You don't have to wear lipstick/To make me wanna come taste your kisses/You don't have to get your hair did/To make me wanna run my fingers through it." It's that "hair did" line that Celine would never deliver -- at least not as sincerely -- that reminds listeners there's been a gap in adult music since Luther left and Anita Baker became underproductive. With a George Duke guest performance, gorgeously polished production from the Heavyweights team, plus plenty of heart-on-the-sleeve lyrics, Brady helps fill that gap, giving the R&B-loving Mom and Dad their next great date night album. ~ David Jeffries minimize