Edward Lee Morgan was an American jazz trumpeter. Known as one of the key hard bop musicians of the 1960s, Morgan came to prominence in his late teens, recording on John Coltrane's Blue Train and with the band of drummer Art Blakey before launching a solo career. Morgan started to record as leader soon after, his song "The Sidewinder", on the album of the same name, became a surprise crossover hit on the pop and R&B charts in 1964, while Morgan's recordings found him touching on other styles of music as his artistry matured. Soon after The Sidewinder was released, Morgan rejoined Blakey for a short period of time. After leaving Blakey for the final time, Morgan continued to work prolifically as both a leader and a sideman with the likes of Hank Mobley and Wayne Shorter, becoming, in the words of critic Steve Huey, " cornerstone of the Blue Note label roster". Morgan's career was cut short at the age of 33, when his common-law wife shot and killed him following a confrontation at Slug's Saloon.
Edward Lee Morgan was born in Philadelphia, Pennsylvania, on July 10, 1938, the youngest of Otto Ricardo and Nettie Beatrice Morgan's four children. Interested in the vibraphone, he soon showed a growing enthusiasm for the trumpet. Morgan knew how to play the alto saxophone. On his thirteenth birthday, his sister Ernestine gave him his first trumpet, his primary stylistic influence was Clifford Brown. A leading trumpeter of his era, Morgan recorded prolifically from 1956 until a day before his death in February 1972, he joined Dizzy Gillespie's Big Band at 18, remained as a member for a year and a half, until economic circumstances forced Gillespie to disband the unit in 1958. Morgan began recording for Blue Note in 1956 recording 25 albums as a leader for the label, he recorded on the Vee-Jay label and one album for Riverside Records on its short-lived Jazzland subsidiary. He was a featured sideman on several early Hank Mobley records, intermittently thereafter. On John Coltrane's only Blue Note album as leader, Blue Train, he played a trumpet with an angled bell.
Joining Art Blakey's Jazz Messengers in 1958 further developed his talent as a soloist and composer. He toured with Blakey for a few years, was featured on numerous albums by the Messengers, including Moanin', one of the band's best-known recordings; when Benny Golson left the Jazz Messengers, Morgan persuaded Blakey to hire Wayne Shorter, a young tenor saxophonist, to fill the chair. This version of the Jazz Messengers, including pianist Bobby Timmons and bassist Jymie Merritt, recorded many albums during 1959–61, including for Blue Note Africaine, The Big Beat, A Night in Tunisia and The Freedom Rider. During his time with The Jazz Messengers, Morgan wrote several tunes including The Midget, Celine, Kozo's Waltz and Blue Lace; the drug problems of Morgan and Timmons forced them to leave the band in 1961, the trumpeter returned to Philadelphia, his hometown. According to Tom Perchard, a Morgan biographer, it was Blakey who introduced the trumpeter to heroin, which impeded his progression in his career.
On returning to New York in 1963, he recorded The Sidewinder, which became his greatest commercial success. The title track cracked the pop charts in 1964, served as the background theme for Chrysler television commercials during the World Series; the tune was used without Morgan's or Blue Note's consent, intercession by the label's lawyers led to the commercial being withdrawn. Due to the crossover success of "The Sidewinder" in a changing pop music market, Blue Note encouraged its other artists to emulate the tune's "boogaloo" beat. Morgan himself repeated the formula several times with compositions such as "Cornbread" and "Yes I Can, No You Can't" on The Gigolo. According to drummer Billy Hart, Morgan said he had recorded "The Sidewinder" as filler for the album, was bemused that it had turned into his biggest hit, he felt that his playing was much more advanced on Grachan Moncur III's avant-garde Evolution album, recorded a month earlier, on November 21, 1963. After this commercial success, Morgan continued to record prolifically, producing such works as Search for the New Land, which reached the top 20 of the R&B charts.
He briefly rejoined the Jazz Messengers after his successor, Freddie Hubbard, joined another group. Together with tenor saxophonist John Gilmore, pianist John Hicks, bassist Victor Sproles, this lineup was filmed by the BBC for seminal jazz television program Jazz 625; as the'60s progressed, he recorded some twenty additional albums as a leader, continued to record as a sideman on the albums of other artists, including Wayne Shorter's Night Dreamer. He became more politically involved in the last two years of his life, becoming one of the leaders of the Jazz and People's Movement; the group demonstrated during the taping of talk and variety shows during 1970-71 to protest the lack of jazz artists as guest performers and members of the programs' bands. His working band during those last years featured reed players
The Children of Sanchez (film)
The Children of Sanchez is a 1978 American drama film based on the book with the same title by Oscar Lewis. The film was entered into the 11th Moscow International Film Festival; the movie's well-known soundtrack titled Children of Sanchez, was created by jazz musician Chuck Mangione. Its opening song won the Grammy Award for Best Pop Instrumental Performance for that year; the film chronicles the life of Mr. Sanchez and his struggles with the culture of poverty around him. A widowed farmer, he cares for his family in a marginal area of Mexico City. While being a hard worker who feels the duty to financially support his family, he is still an aggressive, domineering man and a womanizer, his main conflict is with his daughter, Consuelo, a rebellious girl who attempts to break free from her father. She strives to pursue her own dreams. Consuelo likes to talk with her grandmother, who secretly advises her to get married; this is the only way that an uneducated poor woman, can escape her father. Among those in attendance at the film's American premiere, held on November 16, 1978, were U.
S. President Jimmy Carter and First Lady Rosalynn Carter, both of whom were greeted by performers Ferrer and Quinn as well as director Bartlett. Quinn himself escorted the First Lady to their seats. All proceeds went to the Mexican American Legal Educational Fund; the musical score for the film won a Grammy award. The film's title song was written by Mangione and earned him a Grammy for Best Pop Instrumental Performance. Anthony Quinn as Jesús Sánchez Dolores del Río as Grandma Paquita Katy Jurado as Chata Lupita Ferrer as Consuelo Sánchez Lucia Mendez as Martha Sanchez Josefina Echanove as Lupe Patricia Reyes Spindola as Paula's sister Stathis Giallelis as Roberto Children of Sanchez - album The Children of Sanchez - book The Children of Sanchez on IMDb
A&M Records was an American record label founded as an independent company by Herb Alpert and Jerry Moss in 1962. Due to the success of the discography A&M released, the label garnered interest and was acquired by PolyGram in 1989 and began distributing releases from Polydor Ltd. from the UK. Throughout its operations, A&M housed well-known acts such as Joe Cocker, Procol Harum, Captain & Tennille, Sergio Mendes, Ozark Mountain Daredevils, Bryan Adams, Burt Bacharach, Liza Minnelli, The Carpenters, Paul Williams, Janet Jackson, Cat Stevens, Peter Frampton, Elkie Brooks, Carole King, Extreme, Amy Grant, Joan Baez, the Human League, The Police, CeCe Peniston, Blues Traveler, Soundgarden and Sheryl Crow. PolyGram was acquired by Seagram and dissolved into Universal Music Group in 1998, A&M's operations were ceased in January 1999 when it was merged with Geffen Records and Interscope Records to form the record company Interscope Geffen A&M Records. In 2007, Interscope Geffen A&M announced that A&M was revived as trademark and brand and was to be merged with Octone Records to form A&M Octone Records, which operated until 2013, when A&M Octone was folded into Interscope.
Today, A&M's catalog releases are managed by Verve Records, Universal Music Enterprises and Interscope. A&M Records was formed in 1962 by Jerry Moss, their first choice for a name was Carnival Records, under which they released two singles before discovering that another label had taken the Carnival name. The company was subsequently renamed Moss's initials. From 1966 to 1999, the company's headquarters were on the grounds of the historic Charlie Chaplin Studios at 1416 North La Brea Avenue, near Sunset Boulevard in Hollywood. Throughout the 1960s and 1970s, A&M had such acts as Herb Alpert & the Tijuana Brass, Baja Marimba Band, Burt Bacharach, Sérgio Mendes & Brasil ’66, the Sandpipers, Boyce & Hart, We Five, the Carpenters, Chris Montez, Elkie Brooks, Lee Michaels and Tennille, the Flying Burrito Brothers, Quincy Jones, Lucille Starr, Stealers Wheel and Lyle, Barry DeVorzon, Perry Botkin, Jr. Marc Benno, Liza Minnelli, Rita Coolidge, Gino Vannelli, Wes Montgomery, Paul Desmond, Bobby Tench, Toni Basil, Paul Williams.
Folk artists Joan Baez, Phil Ochs and Gene Clark recorded for the label during the 1970s. Billy Preston joined the label in 1971, followed by Andre Popp and Herb Ohta in 1973. In the late 1960s, through direct signing and licensing agreements, A&M added several British artists to its roster, including Cat Stevens, Joe Cocker, Procol Harum, Humble Pie, Fairport Convention, the Move and Spooky Tooth. In the 1970s, under its manufacturing and distribution agreement with Ode Records, A&M released albums by Carole King and the comedy duo Cheech & Chong. Other notable acts of the time included Nazareth, Y&T, the Tubes, Supertramp, Joan Armatrading and James, Chris de Burgh, Rick Wakeman, the Ozark Mountain Daredevils, Chuck Mangione and Peter Frampton. On March 10, 1977, A&M signed the Sex Pistols after the band had been dropped by EMI. However, A&M dropped the band within a week. A&M sustained its success during the 1980s with a roster of noted acts that included Orchestral Manoeuvres in the Dark, Henry Badowski, Janet Jackson, the Police, the Brothers Johnson, Atlantic Starr, the Go-Go's, Bryan Adams, Suzanne Vega, Brenda Russell, Jeffrey Osborne, Oingo Boingo, the Human League, Ozark Mountain Daredevils, Lois & Bram, Annabel Lamb, Jim Diamond, Vital Signs, Joe Jackson, Scottish rock band Gun.
They through a deal with Christian music label Myrrh, distributed back catalog recordings of Amy Grant as well as her new recordings, starting with 1985's Unguarded, to the mainstream marketplace, a vital component in her subsequent breakthrough as a mainstream artist. Within a decade of its inception, A&M became the world's largest independent record company. A&M releases were issued in the United Kingdom by EMI's Stateside Records label, under its own name by Pye Records, who released the first Herb Alpert records on the Pye International label before issuing the records on the A&M label until 1967. From 1969, A&M set up its own UK base appointing John Deacon as General Manager - a post he held until 1979. Several A&R men were recruited including Larry Yaskiel and Derek Green and major UK acts such as the Police, Rick Wakeman, Gallagher & Lyle, Elkie Brooks, the Strawbs and Peter Frampton as well as many others were all signed to the UK label. A&M releases were issued in Australia through Festival Records until 1989.
A&M Records Ltd. was established in 1970, with distribution handled by other labels with a presence in Europe. A&M Records of Canada Ltd. was formed in 1970, A&M Records of Europe in 1977. In 1979, A&M entered a distribution agreement with RCA Records in the US, with CBS Records in many other countries. Over the years, A&M added specialty imprints: Almo International for middle of the road. A&M was bought by PolyGram in 1989. Alpert and Moss continued to manage the label until 1993. In 1998, Alpert and Moss sued PolyGram for breach of the integrity clause settling for an additional $200 million payment. In 1991, A&M launched Perspective Records as a joint venture with producing team Jimmy Jam and Terry Lewis. Jam and Lewis stepped down as CEOs of the imprint in 1997. In 1999, t
A wind instrument is a musical instrument that contains some type of resonator, in which a column of air is set into vibration by the player blowing into a mouthpiece set at or near the end of the resonator. The pitch of the vibration is determined by the length of the tube and by manual modifications of the effective length of the vibrating column of air. In the case of some wind instruments, sound is produced by blowing through a reed. Using different air columns for different tones, such as in the pan flute. Changing the length of the vibrating air column by changing the length of the tube through engaging valves which route the air through additional tubing, thereby increasing overall tube length, lowering the fundamental pitch; this method is used on nearly all brass instruments. Changing the length of the vibrating air column by lengthening and/or shortening the tube using a sliding mechanism; this method is used on the slide whistle. Changing the frequency of vibration through opening or closing holes in the side of the tube.
This can be done by covering the holes with fingers or pressing a key which closes the hole. This method is used in nearly all woodwind instruments. Making the column of air vibrate at different harmonics without changing the length of the column of air. All wind instruments use the last method in combination with one of the others, to extend their register. Wind instruments are grouped into two families: Brass instruments Woodwind instruments Although brass instruments were made of brass and woodwind instruments have traditionally been made of wood, the names refer to the method by which a player produces sound rather than the material of the instrument, which may vary. In brass instruments, the player's lips vibrate. In woodwind instruments the player either: causes a reed to vibrate, which agitates the column of air blows over a fipple, across an open hole against an edge, or blows across the edge of an open hole. For example, the saxophone is made of brass, but is classified as a woodwind instrument because it produces sound with a vibrating reed.
On the other hand, the didgeridoo, the wooden cornett and the serpent are all made of wood, the olifant made from ivory, but all of them belong to the family of brass instruments because the vibrating is done by the player's lips. In the Hornbostel-Sachs scheme of musical instrument classification, wind instruments are classed as aerophones. Sound production in all wind instruments depends on the entry of air into a flow-control valve attached to a resonant chamber; the resonator is a long cylindrical or conical tube, open at the far end. A pulse of high pressure from the valve will travel down the tube at the speed of sound, it will be reflected from the open end as a return pulse of low pressure. Under suitable conditions, the valve will reflect the pulse back, with increased energy, until a standing wave forms in the tube. Reed instruments such as the clarinet or oboe have a flexible reed or reeds at the mouthpiece, forming a pressure-controlled valve. An increase in pressure inside the chamber will decrease the pressure differential across the reed.
The increased flow of air will increase the internal pressure further, so a pulse of high pressure arriving at the mouthpiece will reflect as a higher-pressure pulse back down the tube. Standing waves inside the tube will be odd multiples of a quarter-wavelength, with a pressure anti-node at the mouthpiece, a pressure node at the open end; the reed vibrates at a rate determined by the resonator. For Lip Reed instruments, the players control the tension in their lips so that they vibrate under the influence of the air flow through them, they adjust the vibration so that the lips are most closed, the air flow is lowest, when a low-pressure pulse arrives at the mouthpiece, to reflect a low-pressure pulse back down the tube. Standing waves inside the tube will be odd multiples of a quarter-wavelength, with a pressure anti-node at the mouthpiece, a pressure node at the open end. For Air Reed instruments, the thin grazing air sheet flowing across an opening in the pipe interacts with a sharp edge to generate sound.
The jet is generated by the player. For recorders and flue organ pipes this slit is manufactured by the instrument maker and has a fixed geometry. In a transverse flute or a pan flute the slit is formed by the musicians between their lips. Due to acoustic oscillation of the pipe the air in the pipe is alternatively compressed and expanded; this results in an alternating flow of air out of the pipe through the pipe mouth. The interaction of this transversal acoustic flow with the planar air jet induces at the flue exit a localised perturbation of the velocity profile of the jet; this perturbation is amplified by the intrinsic instability of the jet as the fluid travels towards the labium. This results into a global transversal motion of the jet at the labium; the amplification of perturbations of a jet by its intrinsic instability can be observed when looking at a plume of cigarette smoke. Any small amplitude motion of the hand holding the cigarette results into an oscill
Eastman School of Music
The Eastman School of Music is the professional school of music of the University of Rochester in Rochester, New York. It was established in 1921 by philanthropist George Eastman, it offers Bachelor of Music degrees, Master of Arts degrees, Master of Music degrees, Doctor of Philosophy degrees, Doctor of Musical Arts degrees in many musical fields. The school awards a "Performer's Certificate" or "Artist's Diploma". In 2015, there were more than 900 students enrolled in the collegiate division of the Eastman School. Students came from every state of the United States, with 25% foreign students; each year 2000 students apply. The acceptance rate was 13% in 2011 and about 1,000 students are enrolled in the Eastman School’s Community Music School. Alfred Klingenberg, a Norwegian pianist, was the school's first director, he was succeeded by composer Howard Hanson in 1924, who had an enormous impact on the development of the school, holding his post for four decades and continuing his involvement at Eastman after his retirement.
Since the founding of the Eastman School of Music in 1921, the school has been directed by six men. Alfred Klingenberg served as the school’s first director from 1921 to 1923. After a one-year interim under Acting Director Raymond Wilson, the young American composer and conductor Howard Hanson was appointed director of the school in 1924. Dr. Hanson is credited for transforming the Eastman School into a top school. Upon his retirement in 1964, after serving as director of the school for 40 years, Hanson was succeeded by conductor Walter Hendl. Hendl served as director from 1964 to 1972, was succeeded by pianist and musicologist Robert Freeman who served from 1972 to 1996. Associate Director Daniel Patrylak served as the acting director from the time of Mr. Hendl’s resignation until Robert Freeman assumed the position in July 1973. Following the resignation of Robert Freeman in 1996, James Undercofler was appointed Director and Dean of the Eastman School, held that position until he resigned in 2006 to accept the position of C.
E. O. and President of the Philadelphia Orchestra. Jamal Rossi, an Eastman alumnus, was appointed Interim Dean of the Eastman School in April 2006. On May 21, 2007, composer/conductor Douglas Lowry the dean of the University of Cincinnati College-Conservatory of Music, was appointed Dean of the Eastman School, to begin serving in 2007. Following Lowry's death in 2013, Rossi was appointed Dean; the Eastman School occupies parts of five buildings in New York. The main hall includes the renovated 3,094-seat Eastman Theater, the 455-seat Kilbourn Hall, the 222-seat Hatch Recital Hall, offices for faculty; the Eastman Theatre opened in 1922 as a center for music and silent film with orchestral and organ accompaniment. Today, the 3,094-seat theatre is the primary concert hall for the Eastman School's larger ensembles, including its orchestras, wind ensembles, jazz ensembles, chorale; the Eastman Opera Theatre presents staged operatic productions in the theatre each spring. It is the principal performance venue for the Rochester Philharmonic Orchestra.
A $5 million renovation of the theatre was completed in 2004. The theatre is located on the corner of Main and Gibbs Streets. Due to a $10 million donation by Eastman Kodak Inc. in April 2008, the Eastman Theatre was renamed "Kodak Hall at Eastman Theatre" upon the renovation's completion in 2010. The Sibley Music Library—the largest academic music library in North America—is located across the street from the main hall. Hiram Watson Sibley founded the library in 1904 using the fortune he made as first president of Western Union, it moved to its current location in 1989, occupies 45,000 square feet on the 2nd, 3rd and 4th floors of the Miller Center known as Eastman Place. The Sibley Music Library holds 750,000 items, ranging from 11th century codices to the latest compositions and recordings. Considered among its jewels are the original drafts of Debussy's impressionistic masterpiece, "La Mer." The Student Living Center, located at 100 Gibbs Street, is the dormitory building of the Eastman School of Music.
In 1991, the new building was opened at the corner of Main and Gibbs Streets, replacing the University Avenue dormitories built nearly 70 years earlier. It is a four-story quadrangle and 14-story tower surrounding a landscaped inner courtyard, contains its own dining hall; the majority of students enrolled in the undergraduate program live on campus in this building. The school offers Bachelor of Music degrees, Master of Arts degrees, Master of Music degrees, Doctor of Philosophy degrees, Doctor of Musical Arts degrees in many musical fields; the school awards a "Performer's Certificate" or "Artist's Diploma" to students who demonstrate exceptionally outstanding performance ability. The Institute for Music Leadership, formed in 2001, offers a variety of diploma programs designed to educate and give students the skills and experience necessary to meet the demands of performance and education in today’s changing musical world. In 2018, The Institute for Music Leadership created a Master of Arts degree in Music Leadership, designed for musicians who seek to lead traditional and/or non-traditional musical arts organizations.
This new degree program combines intense classroom study, courses from Eastman’s rich performance and scholarly offerings, hands-on experiences through internships and mentorships. Eastman alu
Lester William Polsfuss, known as Les Paul, was an American jazz and blues guitarist, songwriter and inventor. He was one of the pioneers of the solid-body electric guitar, his techniques served as inspiration for the Gibson Les Paul. Paul taught himself how to play guitar, while he is known for jazz and popular music, he had an early career in country music, he is credited with many recording innovations. Although he was not the first to use the technique, his early experiments with overdubbing, delay effects such as tape delay, phasing effects and multitrack recording were among the first to attract widespread attention, his innovative talents extended into his playing style, including licks, chording sequences, fretting techniques and timing, which set him apart from his contemporaries and inspired many guitarists of the present day. He recorded with his wife, the singer and guitarist Mary Ford, in the 1950s, they sold millions of records. Among his many honors, Paul is one of a handful of artists with a permanent, stand-alone exhibit in the Rock and Roll Hall of Fame.
He is prominently named by the music museum on its website as an "architect" and a "key inductee" with Sam Phillips and Alan Freed. Les Paul is the only person to be included in both the Rock and Roll Hall of Fame and the National Inventors Hall of Fame. Paul was born Lester William Polsfuss in Waukesha, Wisconsin, to Evelyn Polsfuss, his family was of German ancestry. Paul's mother was related to the founders of Milwaukee's Valentin Blatz Brewing Company and the makers of the Stutz automobile, his parents divorced. His mother simplified their Prussian family name first to Polfuss to Polfus, although Les Paul never changed his name. Before taking the stage name Les Paul, he performed as Red Hot Red and Rhubarb Red. At the age of eight, Paul began playing the harmonica. After trying to learn the piano, he switched to the guitar, it was during this time that he invented a neck-worn harmonica holder, which allowed him to play both sides of the harmonica hands-free while accompanying himself on the guitar.
It is still manufactured using his basic design. By age thirteen, Paul was performing semi-professionally as a country-music singer and harmonica player. While playing at the Waukesha area drive-ins and roadhouses, Paul began his first experiment with sound. Wanting to make himself heard by more people at the local venues, he wired a phonograph needle to his guitar and connected it to a radio speaker, using that to amplify his acoustic guitar; as a teen Paul experimented with sustain by using a 2-foot piece of rail from a nearby train line. At age seventeen, Paul played with Rube Tronson's Texas Cowboys, soon after he dropped out of high school to team up with Sunny Joe Wolverton's Radio Band in St. Louis, Missouri, on KMOX. Paul moved to Chicago in 1934, where he continued to perform on radio stations WBBM and WLS, he met pianist Art Tatum, whose playing influenced him to stick with the guitar rather than original plans of taking on the piano. His first two records were released in 1936, credited to "Rhubarb Red", Paul's hillbilly alter ego.
He served as an accompanist for a few other bands signed to Decca. During this time he adopted his stage name of Les Paul. Paul's guitar style was influenced by the music of Django Reinhardt, whom he admired. Following World War II, Paul made friends with Reinhardt; when Reinhardt died in 1953, Paul paid for part of the funeral's cost. One of Paul's prized possessions was a Selmer Maccaferri acoustic guitar given to him by Reinhardt's widow. Paul formed a trio in 1937 with rhythm guitarist Jim Atkins and bassist/percussionist Ernie "Darius" Newton, they left Chicago for New York in 1938. Chet Atkins wrote that his brother, home on a family visit, presented him with an expensive Gibson archtop guitar that Les Paul had given to Jim. Chet recalled that it was the first professional-quality instrument he owned. Paul was dissatisfied with acoustic-electric guitars and began experimenting at his apartment in Queens, New York with a few designs of his own. Famously, he created several versions of "The Log", a length of common 4x4 lumber with a bridge, neck and pickup attached.
For the sake of appearance, he attached the body of an Epiphone hollow-body guitar sawn lengthwise with The Log in the middle. This solved his two main problems: feedback, as the acoustic body no longer resonated with the amplified sound, sustain, as the energy of the strings was not dissipated in generating sound through the guitar body; these instruments were being improved and modified over the years, Paul continued to use them in his recordings long after the development of his eponymous Gibson model. In 1945, Richard D. Bourgerie made an electric guitar pickup and amplifier for professional guitar player George Barnes. Bourgerie worked through World War II at Howard Radio Company making electronic equipment for the American military. Barnes showed the result to Les Paul. While experimenting in his apartment in 1941, Paul nearly succumbed to electrocution. During two years of recuperation, he moved to Hollywood, supporting himself by producing radio music and forming a new trio. During this time, he was remembered by factory workers as a frequent visitor to the Electro String Instrument Corp. shop on Western Avenue in Los Angeles, where he observed production of Rickenbacker brand guitars and amplifiers.
He was drafted into the U. S. Army in 1943, where he served in t
Feels So Good (composition)
"Feels So Good" is the title of an instrumental composition by the American flugelhorn player Chuck Mangione. It was written and produced by Mangione, is the title track from his 1977 album; the album version of "Feels So Good" runs ten minutes, but an edited version was released as a single in early 1978, which reached #4 on the Billboard Hot 100 chart in June of that year after spending a week atop the Billboard easy listening chart in May. The recording was nominated for a Grammy Award for Record of the Year at the ceremony held in 1979, losing out to Billy Joel's "Just the Way You Are". Mangione re-recorded the tune for his 1982 album 70 Miles Young. Mangione was quoted describing the editing of the original version of the track as "major surgery." Chuck Mangione: Flugelhorn & electric piano Chris Vadala: Saxes Grant Geissman: Guitar Charles Meeks: Electric Bass James Bradley, Jr.: Drums Mangione appeared in a commercial for Memorex in 1979 performing "Feels So Good". Ella Fitzgerald, who became famous for Memorex commercials in 1970s, heard Mangione and musicians perform it it was played back for her.
When she was asked "if it was live or it is Memorex?", Ella shrugged and said, "beats me!". It was played at the beginning of the 2016 Marvel Studios film Doctor Strange, it is part of a "name. At one point it is commented "the man charted a top ten hit with a Flugelhorn". Mason Storm, as portrayed by Steven Seagal, enjoys listening to "Feels so Good" in his car in the 1990 action-thriller Hard to Kill; the composition was heard in King of the Hill, including a running gag in which Mangione worked it into whatever he was playing. The song was featured in the Friends episode "The One with All the Haste", in which Joey and Chandler's unnamed neighbor can be heard singing made-up lyrics to the song in the morning; the song is played in the second episode of South Park's 19th season, "Where My Country Gone?", by Canadian students as a religious ritual performed with trumpets at 08:00 AM and at 11:00 while facing east. The song is played in the seventh episode of The Simpsons's 18th season, "Ice Cream of Margie" while Marge works in her sculptures.
The song is played in the thirteenth episode of Family Guy's 7th season, "Stew-Roids" where Chris is dating Connie D'Amico and mentions seeing the film "Distracting Trumpets," in which Feels So Good plays in the background of a Godfather-esq meeting. List of number-one adult contemporary singles of 1978 Single release info from discogs.com