Similarity to this musician’s style led an early-career Sonny Stitt to often be accused (10[1])of being an unoriginal (10[1])mimic. Ken Slone and Jamey Aebersold created this man’s “Omnibook,” (10[1])which transcribes his (10[1])solos on songs like “Confirmation.” (10[1]-5[1])This musician used chains (-5[1])of (-5[1])ii-V (-5[1])(“two-five”) progressions (10[1]-5[6])in 12-bar (-5[1])blues songs (-5[2])like “Billie’s Bounce” (10[2])and “Blues (10[1]-5[2])for (-5[1])Alice.” (10[2]-5[4])This musician (10[2])played a (-5[2])plastic (10[1]-5[1])instrument (10[2]-5[2])at Massey (10[1])Hall (10[1])alongside Dizzy Gillespie, (-5[1])who (-5[1])appeared (-5[1])on his (-5[1])song (-5[1])“Ko-Ko.” (10[2]-5[2])In the 1940s, (10[1]-5[1])this musician developed a style of jazz that emphasized (-5[1])fast, technical (10[1]-5[1])improvisation. (10[2]-5[5])For (-5[1])10 points, name this pioneering (-5[1])bebop (10[1])saxophonist (10[6]-5[4])whose (10[1]-5[2])composition (10[1]-5[5])“Ornithology” (10[3]-5[1])puns (10[3])on (-5[1])his (10[2])nickname, (10[5])“Bird.” (10[5])■END■ (10[40]0[43])