here's some more ideas related to this thread-

seems like what works when trying to get something new together is to set a cut-off point for technique-related,analysis-related work and move on to something else while setting up a listening focus on what you just got finished practicing intensely;spend some time just getting the concepts involved internalized aurally-then go back to it and see if you can't execute/"play out of" the given influence/harmonic-melodic concept with a relaxed,"think of something and play it approach"..............
There are 2 comments, leave a comment.
another thing to take into account is the kind of listening you do-sometimes it helps to balance...
intensive listening to a given players' soloing on a tune with more casual listening to the player in a variety of contexts(if you're trying to absorb the style involved)or checking out a period(i.e.late 50's hard bop)by listening to a lot of the major players instead of just one..also try alternating "osmosis"-oriented immersion in a given players' techniques with taping a solo and listening to it a lot at half-speed........on the one hand you want to get to know all the detailed aspects of the style in question while not getting bogged down in a "can't see the forest for the trees" situation re-your "ear/memory capacity" to understand the style in terms of other ways of approaching things you already have can get a hold of some different players on the same tune to develop this sense as well.........
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