This is probably one of those topics that won't get many replies. I can't say for sure. The posts that typically get a lot of hits usually say something like:
"Great mouthpiece for high notes" or "I got my first Double C yesterday".
But say something like "make a catalogue of your assets and liabilities"? Probably won't generate much interest. Yet it is these common sense, boring topics that do the most good. My list:
Plays with conviction.
Has much endurance
Good "shift" into the upper register.
A. Relies on the upper register "shift" too much. This makes some phrases and notes "gummy" or not well articulated particularly late in the evening when tiring. Needs to concentrate on developing those refined embouchure muscles and just get a piece of a note more often. Instead of blasting away as much as he does.
B. Relies on loud playing too much to carry the lead trumpet chart. Needs to back off a little more often in order to finish the gig with the same accuracy as he had early in the evening.
C. Doesn't practice enough general technical studies. Tends to rely on experience rather than maintenance and development of advanced skills. This causes tension on some exposed phrases in live concerts and rehearsals. Is doing more work than he needs to do on the job instead of developing a well grooved expertise in advanced technical issues.
(that one was hard to accept let alone admit)
C. Jazz improvisation adequate for his gigs but is far from being a dominant expressive artist.
There are more areas of liability and asset but these six or so characteristics are the ones that really count. By writing this account down I can devise easy to implement corrections. Hopefully anyway...
When i looked at the technical studies issue i considered that I ought to combine some jazz licks and scale routines into my warm up. I already know the Clarke book by heart. So why not take a set of Blue Mitchell type solo transcriptions and transpose into a half dozen keys? Play each one both slurred and tongued.
The "gummy" high note issue is important to deal with. What this is is when my chops get a little tired I start slurring up to say a High D, E or so instead of popping the thing dead on. If really tired this may even affect my first ledger line B natural and High C. Not a professional sound. So I ought to learn to get these notes without the "scream" tone. Just back off the bravado and hit 'em more like the classical cat does. Getting just a piece of the note without over blowing. That takes a little more practice.
Summary: I'm almost practicing enough but not conditioning as rationally as I could. With a few simple adjustments to the planning and execution of practice I ought to be able to play more accurately in the third and fourth sets of a demanding job. That and require less warm up at the beginning of a gig.
Glad to hear of your thoughts (but again i think that this will probably not be a post that generates much enthusiasm...)