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@@Niamhmusicmusic the stuff he played on this set was so good vro check out everything on vol 52 (whichever volume After you’ve gone was on)

Nah cannonball had a dark warm sound and almost sounded like tenor. Cannonball also was a genius. While Pat is really good, he's not cannonball

was there an interview where patrick recommended this solo? ik patrick knows all about rnb sax players

you can search Earl Bostic Tiger Rag and it’ll show up

That was Charlie Parker.

@@alphageek1011:00

sounds like he's quoting "the stars and stripes forever," a sousa march

@@snoballin Yes , amazing, but who made it, a man or a software. The original is a 2/2 not a 4/4 with sixteenth notes. Youtibeis now full of software transcriptions, and full of mistakes.

@@OCTOKATSbefore I give you any resources I must say this, going to these recordings and listening, learning, and figuring out how to use your ear to identify the chords will pay you dividends in return. Your ear is one of the most important items in your musical toolbox and developing it now will greatly benefit you. With my own experience as an aspiring musician, I promise it will help you! With that being said, you can find it on google pretty easily. Go to google (I use google for lead sheets all the time) and search “crazy rhythm lead sheet” or something along the lines of that, then go to either “images” and or “shopping” at the bottom of the search bar. I might show you images of the lead sheet from the Hal Leonard version of the real book first, that’s the one you want. But it might have the sheet but with a “preview only” watermark on it. Then go to the website the image it’s from for a bigger version of it. Happy shedding!

The first two were just chance. The 3rd Emmet caught on and the 4th Kyle caught on.

@@nathanking635 wait really? so sometimes they just really hit the same accent by accident? that's so cool!

@@airier-c1458 It can happen, could also just be a quote that I don't recognize lol

@@nathanking635 it could be a quote but they are also THAT good

@@airier-c1458 thats the magic of this music man, its a rare thing to witness and even more hype when u experience it. Go to the full version of this tune at Emmets and that exact thing happens at 3:58

He’s quoting all night long by the Mary Jane girls for folks who may not be familiar. Such a cool thing to quote

@@DaltonBell-pr1ts lmao I knew I had heard that lick before 😂

Bostik certainly had his own thing going, and his false fingerings certainly influenced a lot of players. Technically great, but he was no Phil Woods, Cannonball, Stitt

@@Selmerpilot technically and musically flawless, im sure all three players you named were heavily inspired by Bostic, considering he was before their time, this must be your first time hearing him.

@@koju3891 I can't speak for Cannonball nor Stitt, but I knew Phil pretty well and he was never influenced by Bostic. I know David Sanborn absolutely was and he adored him, and Phil for that matter. Bostic's contribution can never be forgotten, he truly had his own thing going and only he could do it. The same could be said for Boots Randolph.

@@gdludus yup same definition lol

@@UkuleleAversion thanks for clarifying lol. In the head (of the og recording and this rendition) they use that maj13#11, but both recordings actually do flatten the 7th for the solos. Originally I thought it was interchangeable but it’s true form and intended harmony was the maj7, but now I know they primarily use the dom7 for that chord in the solos always (idk how I didn’t realize it before lol they emphasized it constantly)

@@ballzuru5983 Ah, I see. Honestly, then, it could go either way. Fmaj13#11 isn't strictly wrong then if that's what is played during the heads. I had the same problem when transcribing an Emmet Cohen solo over People Will Say We're In Love. On that performance, the changes are super different to the original song (from "Oklahoma") and the bassist and Emmet often sub in changes like the bIImaj7 for the V7 chord. So, I had to take a kind of average of all the chord changes played for each chorus.