Siguro, kumbaga sa kungfu, kapag na master mo na lahat ng moves, it will naturally come out depending on the situation. Ibabagay mo din naman yung ilalagay mo sa level ng kalaro mo...nga ba? ![smiley :-)](http://talk.philmusic.com/Smileys/default/pretty_smile.png)
yeah, that's true... like the Drunken' master.. ![grin :-D](http://talk.philmusic.com/Smileys/default/big_smile.png)
on the topic of kung fu, cerebral palsy, and melodic-heads...
the analytical part is VITAL. you have to brush up on your observation skills, doing so helps you "get into the groove" of the jazz vocabulary, helps you define notes and textures, and improves your music appreciation tastes.
BUT...
It is to be left in the privacy of your bedroom. Coz that side of your head has to be deactivated when you start playing in front of people. particularly if you are playing jazz.
the greats notoriously woodeshedded and studied. mike stern had mentors, and stern also mentors students. he has a great one in the person of oz noy.
back to the original topic...
i feel that it is important to strike a balance between the two. honestly, what you play does not matter until you make a connection with the listener. look at language- does the use of hifalutin language impress people? not many can relate to advanced vocabulary. theres's your cerebralness.
on the other hand, a simple vocabulary inventory is just too limiting for expression. the best melodies are short and memorable (dont even bring up "spain", demmit... hahahah)
but...
it is possible to strike a balance between the two. the most eloquent speakers and literary figures i look up too were not necessary "scientific" with their use of words and phrases, but are inventive, using common terms in a new light. they communicate in a sophisticated fashion using the simplest tools.
music-wise, take jim hall, for instance. he isn't a marathon runner on the fretboard. his lines can be simple, poignant, and he can summon the oblique at will. ditto for keith jarret, who in one turn can sound like a crowd rushing at you with the density of notes he uses on his improv excursions, then suddenly lull you with the simplest and most sublime melodies, like a lover whispering sweet nothings in your ear
![wink :wink:](http://talk.philmusic.com/Smileys/default/look_down.png)
bottomline- find a way to conquer and command the two.