Well, there you have it. Different strokes for different folks. But you still feel the need to tell everyone why the suggestion I made for Alex does not work for you. So we could go back and forth like this indefinately, where I defend this part of my approach, and remind you that it is one aspect of the big picture, and then you disagree with it again, etc. So let's just make our own suggestions, and let Alex decide for himself what he thinks is valid. Although I think it's all valid. I never took issue with any of your comments, except the notion of what vocabulary is.
Alex, to paraphrase from your earlier posts, you wrote that you endeavor to get away from free jazz, to play in more straight-ahead settings, and that in order to sound convincing doing this you want to play more like Ray Brown, as well as draw more from the tradition overall. I would say this: immerse yourself in recordings that you think represent that tradition. Don't listen to Ornette for a while. You may find it interesting to try and recognise how certain strains existed which fed into the music that you listen to now, as you'll always gain a better understanding of something when you know where it came from. But even if you don't transcribe a note of the "earlier" stuff, it's bound to sink in trough osmosis if you really saturate yourself with it. Also, look for more current stuff that's coming from the tradition, like Scott Hamilton is one who comes to mind.
You mention that you want to learn cliches, but in a more meaningful manner, like when Ray played them. I don't know if you ever saw him live, but if you did you'll probably understand what I felt when I saw him. Ray had an overwhelming sense of joy (almost euphoria), and pride when he played. He felt it, and he made the audience feel it. I think it stemmed from the fact that he just loved to play, the music was swingin', dynamic, the best s**t on earth. I think it was this attitude that allowed him to play cliches in a way that sounded meaningful. I think all great jazz is infused with that kind of spirit. If you can experience it yourself, on a regular basis, by attending performances of artists you hold in the highest regard, some of that spirit may begin to show up in your own work. It's definately something you can't get from records alone.
On the other hand, if you're not infatuated with a style or period of jazz, there is no way you're going to perform it with conviction, because it has no meaning to you. Are you on this path because you love it, or because you think you should? Does the mainstream really interest you, or are you just hoping to be more versatile so you can get more gigs?
If you truly embrace it, all of the other stuff will fall into place. Just think to yourself, "This is what I love, this is what I do, this is who I am". Also, the music is a force of its own. No one person is bigger than the music. I am lucky just to be a relatvely anonymous participant.
But I ramble.
