But it is not the book, per se, that is responsible but the musical concepts behind it. There are only twelve notes but a myriad number of ways of playing them and the jazz musician must have these demanding technical resources at his command. Don't practice what you are going to play, practice what you have difficulty doing. Practice things that will add to your flexibility and ability to play what you hear. Another resource is based on your sound or tonal resources.
Horn players work diligently on their sound as do other instrumentalists.
In my article on melody, I stressed the importance of having a sound that could stimulate the imagination of the listener and the beauty to enhance a beautiful melodic idea. I have heard players that actually went overboard about this to the point where there sound became the most important aspect of their playing. Some pianists feel that they can only get their sound on the finest Steinway grand piano. Others can make an upright sound great. The concept of sound must come from the heart and mind and inner ear as opposed to the perfect, idealized version.