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Just Feelin' It

Rate It! Avg: 4.0 (42 ratings)
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Just Feelin' It album cover
01
Coming Right At ya
5:18
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02
It's the Way She Moves
5:20
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03
Just Feelin' It
3:51
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04
There's Nothing Better Than Love
6:08
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05
Way Back When
4:37
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06
Another Chance
6:17
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07
In Flight
4:45
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08
Still Thinking About You
5:27
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09
The Bassment
5:55
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10
Lovely Day
5:02
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11
Tis So Sweet
4:47
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12
The Bassment
1:34
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Album Information

Total Tracks: 12   Total Length: 59:01

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Feel Good Playing

kenneyT

Being the cousin of Wayman Tisdale , I 've been accoustom to this style of playing. It's nice and melodic, however being a bass player myself , the heart of being the foundation of the music is what I feel bass playing is all about. It takes a great deal of createtivity to find the space in the music and let it breath. Less is more. Thats just me. Its still a nice album. So try it out.

They Say All Music Guide

By virtue of his size, smile, stronger promotional push, and ubiquitous covers of disco-era hits, Wayman Tisdale has taken the melodic virtues of the bass and made it a viable instrument in smooth jazz. But there’s always room for another, and of all the longtime sidemen releasing solo efforts in 2006, Michael Manson — a genre heavy who is best known for his long-term association with Kirk Whalum — made the best effort to emerge as a star. The energetic melodies, slick and soulful playing, and spirited horn-spiked production on his second disc make for a solid follow-up to his 2002 debut The Bottom Line, which spawned the popular radio hit “Outer Drive.” Cover happy 2006 radio programmers are probably more appreciative of Manson’s graceful, bluesy reading of Luther Vandross’ “There’s Nothing Better Than Love” and lightly grooving twist on “Lovely Day” (featuring dreamy vocals by Kevin Whalum, Kirk’s brother) — but Manson blissfully shows that the art of original songwriting is still thriving in the genre. The bubbly “Coming Right at You,” featuring Whalum and the piano solo expertise of Mike Logan and Jeff Lorber, is pure horn-funk delight, but the tight hook is just the start. Towards the end of the tune, Whalum chimes in with a fiery jazz solo that simply doesn’t last long enough, but the point is clear — Manson as producer wants real playing beyond just what radio might find convenient. That vibe continues throughout on tunes like the title track and the Lorber-produced “Way Back When,” creating an exciting retro feel that allows many of the genre’s all-stars (Rick Braun, Norman Brown, et al) but never lets us forget that Manson’s axe is the focal point. Amidst the smooth, there’s also the wild and crazy Tower of Power-like jam which again reminds us that smooth jazz artists come to play. Overall, Just Feelin’ It is an outstanding second effort that makes listeners really feel there’s a bright future for smooth jazz. – Jonathan Widran

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