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OMG thanks for the title i fuckin love it i needto try to learn it

Great band leader. Great solo

This solo is in my Top 5 favorites ever!!!! The phrasing and melodic choices were hella musical but also you could feel every note! Definitely inspiring!!!

If I ever find faith in god, its because of Cory Henry

Oscar Peterson approves this 👌

Cory is otherworldly.

This was the day I quit

Light my fire

He was definitely born in the wrong decade.

I mean it's ok and all... But Brecker???

woahhhhhhhhh

Just tag me so I can come back. "I like it here"

what a load of shite. not music, just finger athletics

He wasn’t playing 350bpm, you cut that in half with stride. It becomes eighth notes

OMG….

This man is a national treasure, protect him at all costs

the bass player makes such a stupid face its truly not very pleasant to watch

Is such an orchestration and solo by Alex also on one of Marcus Miller's cd's/records?

God bless the parents of this alien! Cuz he ain’t human!!

Yep, I member my first lingus..

“Cory is an alien…and there’s nothing we can do about it”-Shaun Martin

They r high af

This is totally wild. Unbelievable

Thanks for putting your time and effort into transcribing this great solo. So great to read along. Wish I was there (was in my home country The Netherlands). Marcus Miller was already in awe of Alex Han when doing a concert some 16 years ago at Berklee college of music where Alex Han was at (on youtube).

Fuckin castlevania up in here!

Ultra flow state!!

Always thought Marcus was just a bass player. This video is so cool for so many reasons!

Super Rush

I've got to see this man live one day and the bassist who clearly gets his genius.

When your band is making those faces at you during a live show, you know you're something special. Cory is a gift

00:40❤

Love Snarky Puppy. Love Cory. 🙏🏽Rip Shaun.🙏🏽

Was that an improvised mix of Cory Henry and Bach fuegue?!

Amazing transcription of one of the Greatest duets ever, thank you! I love specially the acotation: "gently t..."

There needs to be an album with just all the recorded Cory Henry solos on Lingus and maybe some of the other Lingus solos. This one is one of my favorites

Worst solo ive ever heard

Kenny G plays what he wants and is very successful. Traditionalists with no imagination h ate this.

Kenny plays what he wants because he loves to not because he can’t…old Kenny g live around duotunes album…much more grit. I like his rendition of Champagne live with George Duke. Plus it’s forced amongst college sax players to talk crap on G…most of them have half the chops and just learned a few lines from a Garzone or bergonzi book. 99 m% have half the chops of Kenny and only heard a standard album. Even sir valor says Kenny’s sound across all 3 horns being so similar is an amazing feat in its own in sac sound. Played for 30 years and still can enjoy a few Kenny live tunes.

I saw the intro and I was like oh alex hahn shaved his johnny bravo cut???

So many comments about tempo. Although there are slower versions of this song, and ones that might be described more as a 'fox trot' (dance step), "Just One of Those Things" is very often played fast in this kind of tempo or at least feel (although rarely these days with that kind of left hand!). Back in the day, when this song first came out, or maybe 15 or 20 years earlier, this kind of feel was known as a "one step" (another dance step). This is basically a kind of march type music for dancing, usually syncopated but with the syncopation and melody in long form stretched over double the number of bars used for a fox trot (due to the fast two feel) which was popular from about 1913/1914 for at least the next ten years afterwards (till at least thr mid 1920s). Piano rolls marked "fox trot and one step" (such as certain QRS word rolls by the likes of Max Kortlander or Pete Wendling) generally start out in a medium bounce tempo with a definite four feel ("fox trot") before changing tempos to a faster tempo (not always exactly double the tempo; sometimes it's just faster but a different ratio to the original tempo) to finish out with a "one step" with a definite two feel. This pretty literally illustrates that the average fox trot was some kind of medium tempo with a four feel, and the average one step was some kind of fast tempo with a two feel. Back in the day, a fast or medium two such as fast marches, most ragtime etc was notated as 2/4, with the quarter notes getting the count "1, 2, 1, 2"; or "1 & 2 & 1 & 2 &" if you count the in-between alto chords in-between the bass notes while counting. Thus the "oom pah" bass was usually written in eighth notes (4 per bar). The faster (usually double the rate of the bass / accompaniment) melody line, was then generally notated in sixteenth notes (8 per bar). However as most popular music transitioned to a "four feel" in the jazz era (really started with fox trots in the late ragtime era before jazz became nationally popular), fast one-steps were felt and written just as much in 2/2 (aka "cut time"; still a "two feel" but notated like 4/4 with 8 eighth notes per bar rather than the 8 sixteenth notes per bar of 2/4) as they were in 2/4. I don't know if later players found reading the frequent sixteenth notes intimidating, or if the switch in notation was meant to imply a different way of feeling the music despite generally similarly fast tempos. One thing is for sure, these fast tempos can LOOK easier on sheet music when this type/rate of melody improvising / single note line is written with eighth notes rather than sixteenth notes, but whether one chooses to write in 2/2 with eighth notes, 4/4 with eighth notes, or 2/4 with sixteenth notes, the notes which are at the rate of the fast melodic improvisations still usually come out to eight per bar (when played in a steady stream; I'm not counting triplets, rests, slower quarter notes etc). Anyway, when I (rarely) play this kind of tempo (not nearly this well!!!) I always think and count in a "fast two" (generally like 2/2) since I simply can't tap my foot fast enough to tap along in time above a certain tempo! Surely if there was a bass player playing with Rossano on this tune at this tempo, they would be either playing in two (with each bass note hitting at the same time as his left hand bass notes) or else walking a bass in a very fast four. But in their head, the length of each bar / placement of each barline should agree with what Rossano is thinking, in order to get the number and placement of bars to agree. So anyway, regardless of what time signature / notation method is chosen to write this down, most serious jazz musicians will agree that the bar lengths / lines should still conform to the original structure of Cole Porter's original song which is the basis for this improvisation. So for example if the original song used is 32 bars (and the musician playing doesn't engage in any structural shenanigans like dropping bars/beats or adding bars/beats as part of their improvisation) then the transcription should also come out to 32 bars in order to be readable and also be easier to immediately compare with the original published sheet music to the tune (which is what almost all the best professionals use as the source material to learn most pre-rock-era popular songs). (I believe this particular song has an unusual chorus structure which is more or less than the usual 16- or 32-bar song forms used in most pop songs of the time; I need to go back and check). This is why some people in the comments here have an issue with notating this in 4/4 but with his right hand playing 16ths and left hand playing 8ths: Because: this type of notation halves the number of actual barlines used in comparison with the original sheet music, and makes comparison to the original sheet more confusing. Also, professional musicians tend to locate different sections of a piece by the barlines (maybe not some contemporary classical works without barlines, but let's leave those aside for here), and notating it in such a way as to change (halve or double, or something) the number of barlines, makes it more confusing for professionals and amatuers alike who are used to seeing this kind of music notated a particular way, and (if playing together in an ensemble) should all be "on the same page" (figuratively) or at least at the same bar, when playing a tune/arrangement together. Even "ear players" playing jazz and popular music, with standard 32-bar song forms, talk between themselves (right along with reading musicians) about "first eight" (bars); "second eight"; "bridge" (which if present is generally the third group of eight bars); and "last eight". These quick references are used to indicate both where the band might start or end a tune, or who takes a solo where, or for how long. This might be quickly discussed by the band before a tune is performed, or called out quickly on the fly while the performance is in progress.

One of the dopest bands to come out of Texas.

Cory Henry, baby. One of the most underrated ever. I just want to see him play with Paul Gilbert: the only other jazzy guy alive who truly never runs out of notes.

The Disbelief face Hahahahaha

❤❤❤❤❤❤

The COOKUP is NASTY!! 💪🏾🔥

BACH ❤

Phenomenal tonal quality. The boy is in a different league. He has developed his on sound. So many players mimic and copy others and never have their own voice on the horn. Alex is a beast!

Thats dogshit music, quit sniffing your own farts and getting high on your own supply. Sure its impressive how proficient a player he is, but its not at all musically appealing to an audience.

Perfect tempo was more impressive tbh

Terrible sound quality