| Kenny,
during the act of soloing I'm not actually thinking about any theory whatsoever. I'm clearing my head of any pre concieved thoughts, licks, or note slection. Or at least I'm trying to. We all come back to certain phrases that we've played over and over again. But in the true form of improvisation I'm trying not to be concious of anything and letting whatever is meant to come out of me, come out of me.
This may sound a bit daunting or unaccessable, but there is a process to get to that point.
Transcribing is a huge part of that. Building up a language that you can draw upon in your subconcious is the key to being able to let all the pre concieved thoughts you have about music in your head go. And that's the place you have to reach for. You want to find yourself lost in the moment of improvising, creating melody, interacting with those comping around you.
I quite often record a gig or a solo and listen back to it. When I'm listening back I try and find something I played that would stand up as a melody on a new composition. This helps me to see how in the moment I am, and how new what I'm playing is. One of my main focuses when working at home on soloing is melodic content. And you mentioned the phrasing in my playing. That has a lot to do with not having studied the solos of other bass players. I worked a lot on saxphone, piano, trumpet and guitar solos. Thus opening my ears to a wider range of playing styles besides ust the bass.
One of the hardest things in recent years has been to let go of the technique I have and not let it get in the way.
I hear this in a lot of people's playing as a problem. They have amazing chops and flawless technique, but it's really getting in the way of the music.
I think a truly flawless technique invloves knowing how and when to use it. And using it to be melodic through changes.
Easy,
Janek | 
