Name your favorite sax solo.

Larry (and Orpheus),

Thanks for the commentary. At the time of my post, I was asking whether the comment Larry made re: "Can't Get Started" evoking Charlie Parker was based on any specific Parker solo(or solos) that he had in mind when you made the statement.

There are a handful of sax greats who stun me just about every time, and both Parker and the Cannonball are among them.

Marty

In addition to all of the great saxmen already mentioned, I would like to add "Pepper Adams". He is one of the least mentioned and greatest baritone saxmen ever. I suppose that's because his best work has been as a "sideman" with Donald Byrd.

On "Byrd in Hand", a Blue Note LP that I had to pay $35. for because it was unavailable on CD, can now be had for $8. on CD. Pepper Adams solo on the tune "Here I Am", is probably the best ever on baritone sax. If you hear it, you will never forget it.

Martykl,
To finally answer the question, was there 'any Parker solo, specifically that made me think that', NO.
As is usually the case, it's the 'body of work', the style, the simple phrasing, repeated 'licks' that a player uses that become his signature (maybe her).
I just noticed, not at the time, as I was 12 when 'Can't Get Started' on the Cannonball/Wilson Album, came into my consciousness--that they share similar licks and phrasing, and since Cannonball came after Parker somewhat, one would have to conclude that he was influenced greatly by his omnipresent works. Just as, one doesn't have to be a music critic to hear Clifford Brown's influence on Chris Botti's work.
Overall, I'm more of an Adderley fan than Parker, but primarily because of the Be Bop of Charlie's era, which predated me somewhat. Cannonball was MY contemporary and I grew up with that--plus the subtlety of Cannonball's tone is overall, more to my liking.
How, given their collective, enormous tallent can we not love both?
Again...it was the overall Marty, the whole not the specific that led me to that statement, and of course, as usual, I'll say that I'm probably mistaken.

Good listening,
Larry

I can not believe no one has mentioned "Gene Ammons". He was a contemporary of Bird and Miles, who he played with at various times; and in my jazz circles he is equally well known.

"Jug" (short for jug head) has blown so many dynamite solo's that I would go crazy trying to pick one, but I will choose "Angel Eyes". The truth is, I vacillate between "Angel Eyes" by him and "Angel Eyes" by Hank Crawford; they both played tenor. Newbies can get an education from these threads. My favorite sax solo changes from one day to the next.

Paul Gonsalves “Diminuendo and Crescendo in Blue” from 'Ellington At Newport' (1956).

32 bar masterpiece that helped relaunch Ellington's career. Liner notes on the back album cover tell the story...