But then Toots doesn't use Robert Bonfiglio's corner switching
technique; if he did, the accenting might just work. As I noted here a
while ago when some of us were posting our takes on "A Night in
Tunisia," I think corner switching is the best, if not the only, way to
get the accenting right on that melody, which jumps around a lot more
than is comfortable to handle otherwise. This technique hasn't been
heavily explored by most jazz players, but I've tried to play some of
Clint Hoover's stuff, and I bet he uses it. Whatever he's using, it's
very good stuff -- the best post-Toots jazz chromatic I've heard.