This solo is an absolute bebop classic. Blue Note period Dexter recordings displayed some of his finest solos on record, and this album in particular, Go, was his most widely recognized of the 60's.

The first track from Mobley's most widely recognized Blue Note LP, Soul Station. Mobley's use of sequences, chromatic enclosures, blues inflection, and his killing sound make him one of the most revered, and unfortunately under appreciated tenor men in jazz.

This solo is from Mobley's Record Role Call, with a similar concept to his famed album Soul Station. This is incredible blowing, with a lot of killing bebop lines, diatonic lines, and great use of phrase structure.

Jay is one of jazz's best improvisers, and an essential part of the Seattle jazz scene. He plays tenor and trumpet with equal virtuosity, and is one of the hippest cats you'll ever meet. Check out his control over time, feel, and rhythm. Visit jaythomasjazz.com for more information on his playing.

This is one of my favorite Joe Henderson solos from his record Mode For Joe. Check out Joe's sound and development over this lengthy form. Make sure you listen to the record to hear how well Joe articulates and phrases in his solos. He was truly a master.

Classic Joe; very swinging and extremely motivic. Check out his use of repetition and sequence development. Lots of blues, pentatonic, and diatonic lines in this solo.

Early Trane; Many bop lines he was using during this stage of his development. This is an excellent solo over Sonny's classic tune.

One of Trane's most well known solos. Incredible development using mostly E- and B7, and F- and C7. An incredible solo in the midst of his departure from his sheets of sound phase.

A very challenging solo. This was an ideal tempo for Trane to play double time over. Many great ii-V's, and tritone substitutions. This is amazing blues playing by the greatest saxophone master.

One of my favorite Brecker solos. Many typical Breckerisms, along with a lot of motivic development, blues and chromatic lines. Dig how well he develops this solo!

This is a difficult solo. The challenge lies in his impeccable time, and smooth, even feel over these angular lines. His altissimo control and facility are second to none.

From Sonny's absolute classic record Saxophone Colossus. The pacing of this solo is incredible, as is Rollins' continuous reference of the Augmented 4th the melody uses. If you listen closely, you can find this #4 in almost all 6 possible key relationships. This is one of the best solos on record as far as I'm concerned.

Another burning Rollins solo. The opening line of this single chorus is one of the most famous lines in jazz history. Check out the triplet figure in the end, and all the implied dominant/diminished chords. Try taking away the triplet figure and playing it in 4/4, and you can hear how outrageously logical it is. Talk about control! What a hell of a solo!

A seriously heavy Rollins solo from his record Sonny Rollins Plus 4. Check out the quarter note hookup between Rollins and Max Roach--Burning! Dig his use of resolving to the #4 on the major chords, and the Parker lick which he continuously displaces in the last chorus. Wow.

Stitt's classic solo from one of the best bebop records ever, Sonny Side Up. This solo, along with Rollin's later on the track, are two of the best bebop tenor solos, period. ONE CHORUS-and in that chorus, the entire language of bebop. Incredible.

Tony Malaby is becoming one of my favorite players in jazz today. His sound is unbelievable, and his control over time and phrasing are truly unique. Check out his technique and harmonic sense over these changes--this is really innovative playing. In the band on this record are Drew Gress--bass, and Paul Motian--drums. This is one of the most creative, and freely improvising tenor players on the scene today, and one hell of a burning album. Also pick up his record "Apparitions"--you won't be diapointed.