Well, the whole point of this thread started from an acceptance of the fact that, when playing in a traditional tunes session, anyone accompanying the tunes on a harmonically more complex instrument than, say, a whistle, has to have some sensitivity to the nature of the music and its potential harmonic content, and play accordingly. Of course there are some tunes where you can let rip.

I recall one exhilarating session where we played "Puddleglum's Misery" - a written tune, I grant you - with alto sax, guitar, trombone, trumpet, melodeons, fiddles, etc., and it swung like hell, with improvisations weaving in and out of each other. But you wouldn't want that on "The Wild Hills of Whannies" - or, at any rate, I wouldn't.

Over the years, I've played traditional music, blues, '20s dance music, jazz, rock'n roll and '60s funk - before coming back to traditional music - and I didn't treat those different musical genres in the same way as each other. Each demanded a different attitude and a different approach and technique.