I don't know. To me, the ideal is that the player knows what they are capable of, what the song requires, and what the song allows. From there, it's a matter of delivering a performance within those parameters. Playing a really nifty line that catches the ear isn't the right thing to do when the vocal is supposed to be the instrument on display during a particular passage. Whether that line involves playing more notes or fewer, it's wrong if it pulls attention from what should be the focus. Whatever you play, the overall performance isn't all about your instrument and your part.
Now, when the song allows the bass to stand out and you can do that within your skills while still providing whatever structure the song may require from you, go for it.
I can appreciate the distinction that John makes with regard to the level of thought and skill that some of the players he observed were applying to the music. Which was their failing, though? Was it a lack of imagination, or a lack of the skill to play what they may have wanted to combined with the wisdom not to try? It's hard to know which if all your knowledge comes from the observation of a single performance unless there is sloppiness in evidence.
Some of those players could be brilliant, but they are just executing what their group wants to put forth. I've seen heavy metal guitarists who you would think knew about six chords and couldn't play more than four notes at a time. When not playing with their band, though, they might rip through some serious classical pieces, finger pick folk tunes, or who knows what else.
On the other hand, maybe the guys John saw are just guitarists who couldn't handle the extra strings. Don't be frustrated that everyone doesn't play like you. If they did, you wouldn't be special.
-bob
