The excellent discussion about what and how we practice got me to thinking about how we develop and practice solos.
For example, I've recently started using Anthony's book "Manifesting Manouche" as a guide to learn soloing. I have spent most of my time learning solos note for note and learning variations of licks and phrases, and getting good tone with my rest stroke picking and rhythm. I've augmented his material with Christiaan's latest videos and a couple of lessons I purchased from Yaakov Hoter's excellent school before he recently shut it down (hope it rises again soon).
Combining these approaches, I've been working on primarily two songs: "All of Me" and "I Can't Give You Anything but Love." I think ya'll would agree that thoroughly studying these tunes will give me a lot to go on.
I've come to agree that working hard on one song will actually give me a lot to apply to other songs. However, concentrating on just one or a couple of tunes sometimes allows me to fall into a rabbit hole of trying to absorb too much if not all the information there is. I find myself not being satisfied just working out an interesting etude/solo and instead, wanting to know every variation all over, up and down the neck. It's almost as if I'm becoming too concentrated and comprehensive about the one song. My mind may start wandering and thinking about learning the original or variation of a complete solo just to have something complete and playable (see my earlier post "The Seduction of Django's Solos").
This is in part a function, of course, of not being a working musician and not having to have a more workingman-like approach to having a set list that I need to just play on a regular basis.
I guess I'm just trying to figure out the right way to ask this question. If, for example, you figure out a nice solo for a tune in one area of the neck with few wanderings for extra color, are you satisfied? Or, do you find yourself thinking you should be able to play something interesting anywhere on the neck you end up, and dissatisfied if you can't?
I'm thinking that, in truth, it takes a good long time (a lifetime?) to feel that comfortable all over the neck, Even then, it's one thing to know the scales and arps all over the neck; it's another to be able to say something interesting. And, of course, it's much easier to solo all over the neck playing "Minor Swing" than "Cherokee".