I think what we're getting to here is not that we have a good time with one musician or another, but that we have a good time with particular people, of world-class ability or beginner. It is their personalities as much as their music that we find meaningful, and that is what will sustain us, keep us coming back, and make us better musicians over time. The clashes we've discussed here are a matter of good manners (or bad) and interpersonal skills which, as Peter noted early on in this thread, are sometimes difficult for creative people. But very often, and in the cases of the best musicians I have "jammed" with, the very best in people is what comes out, as many of us have related here.

One night in 1976, I went to see the David Grisman Quintet in Atlanta. I sneaked backstage and talked with Tony Rice, who saw me staring at his famous Martin guitar, the one that belonged to Clarence White. He invited me to pick it up and play it, but I only had the heart for a couple of chords before I put it down. That made an impression on me.

I remembered today a story that may be relevant. My musical friends in college, who played together a lot(!), were learning old-time and Irish and such at about the same time, used to occasionally have a party/session that had a rule: nobody could play their own instrument. Some of us made some pretty awful noise, some took an interest in the unfamiliar instrument, but, and this was the point, we had a great time and enjoyed each others' company. And that may be where I learned (not only at the instrument-switch parties, but at all of them) is that if music is not fun, then something is wrong, or maybe we should be doing something else. All of the ones I know of are still musicians, after 25+ years, some became fairly well-known, and I bet they all think back to those parties now and then.

Chet