The other odd feature is that Mangione doesn't solo: he states the theme at the beginning (twice on the album version), after the rest of the band solos he states it again, and then after a noodling coda (again, cropped from the 7") we're done. If you're thinking the leader lays out to spotlight his ace band, listen again: they each lollygag through the changes in horrendous clichéd fashion. So why doesn't he play? Because it's not a lead & chord progression to be improvised on, it's a piece to be played straight through. (Not every jazz piece lends itself to improvisation - Monk's "Crepescule With Nellie" springs to mind, and I'm sure some of the Ellington chamber work fits too - but they're the exceptions; they also develop rather than repeat.) To put it another way, the tune is excellent pop but terrible jazz, and if you care about the difference (not that you necessarily should), you can find it on this cut. (DBW)
2 comments:
If "Take Five" was the beginning of jazz becoming hip to pop audiences, "Feels So Good" was the end.
As a youngster, I used to hear this all the time while on my Mom's car radio. As an adult now(36), the song on the surface could seem as easy listening pablum, but the strong melody overrides it all. The driving bass you mentioned cuts through some of the song's lite vibe. Your interesting reassessment has caused me to seek the song out for the full album length version. Please post some more of these types of mini song reviews.
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