That's true, but just remember, we can't move as well with one leg compared to two. Maybe we should just stop and think about that ......

I've stopped to think about that, and will take it even further. It's also more efficient to run a sprint with two legs than hitting the ground with two legs and an arm. Unless it's downhill, in which case you can just roll.

My personal preference is that I use the pinky all the time for chordal things, but for single melodic lines always three. There is an elegant simplicity and consistency there for navigating up and down the fretboard, especially when trying to improvise, and you don't have to think about working around the pinky's inherent shortness/weakness compared to the other fingers. For me it's like the sprinting analogy above. Obviously though, working the pinky into an intuitive method isn't a problem for other people. I also do not play the "yazz stick" (Anchorman reference) where soloing involves secret scale tones that regular musicians like me don't know about.

>>where soloing involves secret scale tones that regular musicians like me don't know about.<<

There's no secret. All tones are good. It's how and when you play them.
Depends on the tune's vibe, where the notes fit into a line, and what kind of harmony it suggests etc. All 12 tones are valuable. That's the secret. (was)

Kipa C. Crett