Frogman, that is one of the best posts I have ever seen on this site, where you explain differences between jazz and classical musicians to the layman. I was very tempted to chime in first when I read that question, but refrained, as I knew you would give a much better written reply. Kudos!
I want to emphasize one point Frogman makes - he states that in jazz, individuality is paramount, and that this is one reason why jazz players are not so great at playing classical. This hits the nail on the head. What I want to elaborate is that, for instance, as a section horn player, my job is to blend my sound as much as possible with my principal, articulate exactly the same way he/she does, play exactly together rhythmically with him/her, play exactly in tune with him/her, so much that we sound like one player. This is actually my greatest strength as a player/musician, my ability to match others in this way, hence why I have the job I do as opposed to a principal job - I make the principal's job much easier. It is seldom that I have a solo of my own, where I can express some individuality appropriately, though I do get the occasional opportunity. I get to actually play principal probably only once or twice a season.
Classical players are much better at this sort of blending/matching than jazz players are - this is one thing Frogman is referring to when he speaks of ultimate command of the instrument, especially in respect to tonal nuance and finesse. You wouldn't want to hear Miles Davis play the Haydn Concerto, or John Coltrane play the transcription of the Hindemith Alto Horn Sonata (which, believe it or not, is actually performed much more by classical saxophonists than it is by horn players).
I want to emphasize one point Frogman makes - he states that in jazz, individuality is paramount, and that this is one reason why jazz players are not so great at playing classical. This hits the nail on the head. What I want to elaborate is that, for instance, as a section horn player, my job is to blend my sound as much as possible with my principal, articulate exactly the same way he/she does, play exactly together rhythmically with him/her, play exactly in tune with him/her, so much that we sound like one player. This is actually my greatest strength as a player/musician, my ability to match others in this way, hence why I have the job I do as opposed to a principal job - I make the principal's job much easier. It is seldom that I have a solo of my own, where I can express some individuality appropriately, though I do get the occasional opportunity. I get to actually play principal probably only once or twice a season.
Classical players are much better at this sort of blending/matching than jazz players are - this is one thing Frogman is referring to when he speaks of ultimate command of the instrument, especially in respect to tonal nuance and finesse. You wouldn't want to hear Miles Davis play the Haydn Concerto, or John Coltrane play the transcription of the Hindemith Alto Horn Sonata (which, believe it or not, is actually performed much more by classical saxophonists than it is by horn players).