And we usually do better with a wider spacing than otherwise, although that's more a software thing than a font thing.
The generally heavier weights of the strokes in most 'jazz' fonts helps with legibility when sight reading in relatively dark jazz clubs, etc. I've expressed the idea before that I think handwritten fonts tend to be a bit of an affectation, but I do see a very real potential value in certain aspects of them. I do think I have a pretty good sense of what works when it comes to music fonts for jazz, though. So I don't think there would be anything useful to learn from looking at my chicken scratch :-) And whatever skills I might have had back years ago, I haven't practiced at all since - I rely on notation software almost exclusively for everything once I get past the initial sketches of a musical idea. One of the reasons I started using notation software so many years ago (like, like 1980's) is that I don't think I have particularly good penmanship.
