Here's another lesson in Fred Wesley 101. I honestly do not have much to write about this tune, I believe that it pretty much speaks for itself. You can take any bar in this solo as a case study in Wesleyian phrasing. It also appears that only a few phrases are ever repeated in this solo.
I want to reiterate what I call the "hiccup" rhythm. It is the use of two sixteenth notes on the up-beat of 1, which instantly makes it a syncopated rhythm. Notice the variation of other phrases that begin on the up-beat. Also, do not forget about the second part of this solo where the tonality shifts from minor to dominant, and Fred explores the major 3rd (C#) and 6th (F#) with the flat 7th (G). The emphasis appears to be on beat 2, but even so, there is still room for syncopation.
Recommended Reading: Hit Me, Fred: Recollections of a Sideman by Fred Wesley Jr. Published by Duke University Press.