This study tries to replicate and extend Thomas Owen’s seminal work on the usage of patterns by Charlie Parker. Using algorithmic tools for pattern extraction on 56 solo transcriptions contained in the Omnibook, we could qualitatively replicate and further quantify Owen’s results that Parker makes extensive and nearly exclusive use of patterns to construct his solos. Under a suitable definition, it even appears that Parker’s solos are built in their entirety from a vast array of interval and pitch patterns. A vocabulary of pre-conceived shorter melodic patterns of about 4-6 elements form the basic building blocks to construct longer patterns on-the-fly during improvisation but also off-line during practice, as the occurrence of very long patterns with up to 32 elements indicate.