I use them for muscular development, keeping the air flowing consistently, and with cresc.-decresc. to develop these varying embouchure levels constant, i.e. keeping the same pitch and relative tone quality when it changes volumes. Different levels and, maybe, different goals depending on the need at the time.
Gary, any chance that we could have you post your warm-up/long tone (Blee) exercises? Thanks.
(You're correct. Edited)
If they work, use them, if they don't, then don't. But don't use some rationale that they don't work as an excuse for getting out of playing them. A placebo effect, as it were. Don't be lazy or expedient.
When I began playing them, of course they were part of my routine. Later on, I believed they stiffened my lips, so I quit playing them. Instead, I played "moving long tones", like Chicowitz' exercises and Concone.
Jump several decades and several strokes later. I was trying, unsuccessfully, to regain my playing strength. All sorts of exercises only had minimal effect. Then, I read that both Miles and Chet, when asked how they got their chops back, first mention out of the gate was, "long tones". I started playing long tones and, almost immediately, my chops got more consistent and my playing better.
Now, part of this could be a chicken or egg scenario. It could be that all my other work prepared me so that the addition of long tones became effective. But there's no way I would know that, so I have to believe that the long tones, in and of themselves, have a significant effect, at least for someone like me who is trying to build, or rebuild, one's chops.
@BigDub said in A little humour:
@Kehaulani
A whopping $1.75 an hour, mind you.
I can believe it, because I used to make 85 cents an hour and that was as a sophomore in college.
@barliman2001 said in A little humour:
@SSmith1226
In Vienna, where public conveniences are rare and far between, a man had an urge... no proper location anywhere . . Finally, in desperation, he entered a doctor's surgery.
I can vouch for that, personally. Once, in Germany, I had to go and the nearest facility was a doctor's office. Getting met with quizzical looks on the faces of the staff as I walked by them, I went in like I owned the place, used their toilet and left. The staff looked quizzically at each other with a, "Who the hell was that guy?", look on their faces. 
I made no mistakes whatsoever. Very inspirational. Stayed home and contemplated my belly button. 
@trickg said in Easter Services:
I'm playing vigil (currently sitting here waiting to play) and tomorrow morning.
Are you spending the night sleping on a pew, then? 
Is that for playing or mounting on the wall next to the singing bass?
Isn't St. Olaf where there is a killer annual Christmas concert? Absolute killer. I don't know about its instrumental program but what an environment, if that's the place I'm thinking of.
@Dr-GO said in Easter Services:
You know, what I find that adds stress to these performances is that the vocal chorus requires the performer to repeat the verse, typically four times. That repetitive playing I find fatigues the embouchure more than range fatigue.
What prevents you from giving the performance an arch? Why not play a verse, lay out a verse, etc.?
Are you doing the Halleluiah Chorus on Flugelhorn? Cool! 
Manhattan's no slouch either.
I had a friend who was "auditioning" The Juilliard School and Manhattan School of Music. He characterized the difference between the two as "Manhattan being somewhat humane while Juilliard students dragged their knuckles on the ground and ate railroad spikes for breakfast" LOL.
Is this what we're really down to, making sexist comments on someone's physical characteristics?
@BigDub said in List of Undergraduate Schools with Well-known Trumpet Programs:
Peabody is in Baltimore, Md. it is the music school part of Johns Hopkins University.
Could swear, I just said that. 
Peabody Institute is the name of the conservatory that is a part of Johns Hopkins University in Baltimore.
Peabody is outstanding, second the motion.
While we're at it, New England Conservatory is no slouch.
Actually, that was my first choice for my Master degree but North Texas made me "an offer I couldn't refuse".
@Newell-Post said in Game of Thrones Thread:
So . . how would you end it? That's always the challenge with these epics. They have foreshadowed many possibilities. Are there any examples from . . that would provide a precedent?
Don't make any more episodes.
When Coltrane told Miles that he just didn't know how to end a solo, Miles said, "Try taking the f***ing horn out of your mouth"!
I've posted this before, but I guess it's gotten lost. Regarding the basics of breath support -
One summer, I was taking a lesson from Bob Fleming who had been a first-call L.A. studio musician and first trumpet for Disney for twenty years. I had spent the previous year in college where Haynie (UNT) was doing a lot of talking about the physical aspects of trumpet playing, using fluoroscopes, x-ray machines, etc. I became a victim of "paralysis by analysis".
So, seeking a brilliant and technical insight into breathing technique, I expressed my confusion and asked Fleming what his approach was.
"Cough", he said. I coughed.
"See?" he said. LOL
Me getting back to the op's original question, this had a lot of influence as well as pleasure on me. Simplicity and purity..
Next time I post I will be wearing a t-shirt which says "I got GOT".
I will then be a member of the International Brotherhood of GOT.
GOT sei dank!