I recently discovered something Barry and I did many moons ago
I love his sax solo, and to be honest I think it is one of his best ones after 50 years of knowing him.
Others say it sounds like a bunch of wrong notes and doesn't fit the song .. maybe it's just me, but dissonant can be cool in the ears of the beholder (at least to me)
Of course he has done other stuff much more 'acceptable' but I took a liking to this one

/sax solo doesn't start until about a minute in
// at minimum the accordion was generated so it fits forum rules
/// I think the drums were generated also
http://bobandbarryshow.com/wp-content/uploads/2021/06/IdonWanna.mp3

Ha.

He has a good command of sax effects like scooping and buzz tones.

I have no problem with the pitches. Only a couple are really outside. It works for me.

There are several occasions of noodling when he plays those really fast passages; those are just running the fingers and do not represent any scales, patterns, or licks.

It's all in the ear of the listener really.

In jazz and rock and roll, are there actually any wrong notes? Probably not.

@rharv: wow, great song!

If Bruno Mars released it, it’d been a hit song already. Powerful, funny, a little mad.

The saxophone player is great. It’s like Hancock says: playing out ain’t hard. Anyone can do it. But getting back in…?!. (Meaning: resolving those out notes takes a master).

Bobby the saxophone player here, does exactly the that: creating huge tension and then releasing it so beatifully.

Joe Henderson was such a master at this.
This wonderful rendition of Summertime is sooooo powerful. It’s pop music, but ever so sophisticated.

I’m not aware of any recordings of Joe Henderson where he runs his fingers quickly and aimlessly like this. I think he would recognize that part of this sax playing as noise, not jazz. Everything Joe played had a purpose and you can hear it.

Different strokes for different folks.
Barry (sax player) has a degree in music from MI State, he may have a different opinion on it being aimless.
And I certainly didn't mean to imply it was Jazz by any means, unless that term is used loosely.
I'm pretty sure he knew what he wanted to do, since it took us a few takes to get what he wanted.

I actually told him I exactly what I wanted for the first seven notes of this solo (it was my song at that point) but gave him all the freedom he wanted from there.
He's one of the few people I can actually talk theory with around here, and have a decent conversation.
But like I said, I know it ain't for everybody.
It may sound like aimless noodling to some, which comes back around to the thread topic <grin>

The cool part is this is exactly the type of conversation I was hoping for, though a little less abrasive.
TBH our current bass player thought the whole solo was 'wrong' and didn't belong in the song at all .. which reminds me, we may need to find a new bass player. <grin>

/the more I listen to it, the more it confirms in my mind he knew what he was playing; there are indeed patterns and scales in there.
//your reply is to me (maybe in error?); anyway I did not compare this to Henderson or anyone else
//not sure if you can hear it, but at the end we were both laughing, which was kinda the intent; go way out in left field, come back to cover first base and end it way off in left field again .. have fun; the first seven notes I asked him to play kind of set the tone (and he got it), so it's probably my fault

Late Edit:
thinking on this a little more; some of his phrases may have been better with more accurate articulation, but his note choice was what I had hoped for .. and maybe because I have played with him for so long I recognize some licks that others may call aimless After 50 some years you probably get used to it!

I liked his solo, as I said. I like his technique, his pacing and his choice of notes. I also believe he has the skill to give you what you requested. And his articulation is fine. My only comment, because you asked, is that the quick runs are not really scales, licks or runs in the conventional constructed improvised sense. I play sax, not as well as he does, and if I just ran my fingers I could make this sound upon request.

Sonny Rollins on the Stones’ Waiting on a friend.
Vinnie Zummo on Joe Jackson’s You can’t get what you want.
Kenny Kirkland on the live version of Bring on the night (Sting)
Branford Marsalis on the live Children’s crusade (sounds like Coltrane’s My favorite things.
Chet Baker on Elvis Costello’s Shipbuilding
Kenny Wheeler on the early David Sylvian albums….

When these songs come on the radio the solos are often cut short…

And I get that. Growing up on a steady diet of rock, pop, some soul… Hearing Coltrane or Jarrett was like hearing a sax or piano being thrown off the stairs.

There’s that thin line between underestimating or overestimating your audience.

Thing is, you can’t “educate” your audience with one song. If the bass player thinks it’s over the top, turn it down a little. They know stuff other musicians don’t understand. And the other way around,

Still think Bobby’s playing is great jazz, yeah, I use it loosely. Apart from some easy noodling, there is great harmony in most of his solo. And a real command of his instrument. Advanced jazz, so maybe not in the right spot, here in this song. Too bad, great player, though.

I was told by my 1st music instructor on the acoustic guitar that "There is no such thing as a wrong note. It's just that some notes sound better than others".

I remember that after 50+ years of playing.

Spinal Tap have a few words to say about wrong notes:

https://youtu.be/m5U6xmwyFPs