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blisterfree Feb 13 2015 at 10:25 PM	Couldn’t resist passing this one along. A remarkably flawless rendition of Pat’s solo from "Third Wind" on the least likely of instruments - the recorder! www.youtube.com/watch?v=Zq8EL8rfvyw
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hman01 Mar 31 2015 at 12:10 PM	Yep! The half hole on the recorder would make these solos very difficult,to say the least.
jh5speed Mar 22 2015 at 5:09 AM	... and the combined sound reminds me of some of those old synth patches - Prophet 5 perhaps ...?
jazziz22 Mar 22 2015 at 12:43 AM	Great job on the transcribed solos ... you sometimes forget just how great these solos are, Third Wind, Have You Heard ... also love his transcription of Michael Brecker’s, Some Skunk Funk ... I just would like to know who is clicking on the "thumb’s down" - duh, really
jh5speed Mar 21 2015 at 4:18 PM	Loved this too - somewhat puzzled by the last comment though. Recorder fingering is more complex than Sax or Clarinet - it might look simple, but it aint ... check out the half-holing and cross fingering this guy is doing. In having loads of keys, other instruments get around the some of these challenges. It doesn’t make things easy, but doing this sort of stuff on a recorder is just jaw-dropping ... But yes - let’s see someone do it on sax or clarinet - that’d be impressive too. It’s been a while since I dropped by this forum - some good debate and chat here as always. All best
HAMBONE Feb 23 2015 at 1:06 PM	I agree with all, this guy can play. But I will say playing a recorder is much easier than playing a wind instrument. If he could do the same on say a clarinet or sax, then you’d really be talking! But his timing and expression are right on the mark.
hman01 Feb 19 2015 at 8:34 AM	What is amazing about this is that it gives you a different visual picture of what is happening on Pat’s guitar, by way of the recorder playing on that instrument what one would think could only be played on Pats’ guitar. At least that’s the only way I can describe this with words. I hope my point comes across.
foper Feb 17 2015 at 6:34 PM	frank… I know there are filters that allow you to filter out vocals, but I don’t think there is any way to filter out guitar.
franksexton Feb 17 2015 at 3:42 PM	personally I would have liked to hear just the recorder without Pat in the background. Is that really the best way to learn to improvise (transcribe and learn the solos of the masters) ?
BobSmith Feb 16 2015 at 8:22 PM	Further thoughts...today I’m still shaking my head over that solo, both the idea of Pat improvising it and Benoit playing it on a seemingly simple ancient wind instrument, somehow. After listening several times to that young man play that solo, my appreciation of Pat’s genius has risen even more, if that was possible! I know I’ve heard Pat play it time and time again listening to the record, and having seen the Still Life tour, the stupendous energy that that solo brings to that particular song, the album and the audience night after night. It’s like the moment of that solo lifts the whole PMG complex to the next level. I mean wasn’t this song that particular point during the concert that most of us were waiting for, the amazement that a group of guys could create something musically that broke every single musical preconception and was simply capturing the musical imagination of everyone in the room and turning it into something tangible.
foper Feb 15 2015 at 5:28 PM	Blister and Bob… I listened to this before reading your replies and I was thinking the exact same thing. That solo has always be my favorite of all versions of TW. I had to go back and listen to the original again. I’ve always known that solo was outrageous; but watching this guy play this put a whole new perspective on the complexity of it. This guy is also a monster being able to get this solo nearly completely right. He also has a rendition of ‘Have you Heard’ and does an astounding job on it. Good find Blister!
stevee23 Feb 15 2015 at 3:43 PM	Amazing, and check my related thread . . .
blisterfree Feb 15 2015 at 2:06 AM	Once the initial shock wore off for me (I mean exactly how long - how much practice and repetition - does it take to develop that level of finger memory?), I found myself with a heightened sense of appreciation, not only for Pat’s virtuosity as a songwriter and soloist, but for how unique and fluid his lines are, relative to any benchmark standard for the guitar, really in any genre. That solo may as well have been originally composed for recorder and transcribed for guitar, rather than the other way around. Pat’s Brazilian-inflected guitar = the secret "Third Wind" instrument?
BobSmith Feb 14 2015 at 9:09 PM	Unfreekingbelievable!! I’ve always loved that solo and it and Still Life Talking really ushered in that new phase of PMG, all of that energy, finally fully realizing his vision of what he was trying to do with the group. The lines are just mind blowingly complex and Benoît Sauvé really catches all of the nuanced, idiomatic guitar flourishes Pat uses to connect the lines. Thanks for posting that!
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