Wesley fredrick lick
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It was something he found that worked so well he found that he was able to express everything he needed through that series of pitches. When I play with him I am reminded of this and try to form my solos in a similar manner. He has great tone, good attack, good projection, excellent intensity and good intonation. John Lee Hooker comes to mind.
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Hammer In French Lick
All this to explain an inside joke. Overall, Fred relies on the D minor pentatonic scale along with the dorian mode, but he eventually works outside the Dm chord by using a C major arpeggio, as well as a D dominant scale, which rubs the major third against the minor third. An easy way to imitate his sense of swing is to accent the last sixteenth-note of a beat one-ee-and-AH. The most important thing to take away from this solo is the use of rhythm and syncopation. Fred Wesley's solo begins as the band hangs on an A7 chord. Therefore, this "mini-solo" must be institutionalized.
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Union soldiers at pilot knob
The great thing about this solo is that every single bar has a clear idea that can be studied and applied numerous ways, and with the proper rhythm, it sure can be funky. Nonetheless, limitations like that would make great art. Cassidy is a great soloist on the bass. The band returns back home to D minor and Fred is let loose to do his thing.
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