Yes, but they're much easier to do now. You can easily assemble a master take of a track digitally using bits and pieces of things. My point was digital technology allows you to obsess to a whole new level.
Most jazz records, however, still seem to get recorded pretty quickly. Except for Verve recordings where it takes ages to get Herbie Hancock/Sting/Peter Gabriel etc to phone in/e-mail/upload their parts.
So many of them are on such a tight budget compared to the pop releases, due to the diminished sales expectations. There's a lot of jazz stuff from the 70's that, much as I like it, could have benefitted greatly from more preparation and more recording time. Muse, Strata-East, Tribe, Black Jazz a bunch of that stuff is wonderful but in places overly ragged clearly because of the rushed nature of the thing. Consider something like Mtume's 'Alkebu-Lan' or the Muse Clifford Jordan's, and how that is so much less than the sum of the parts seemingly should be. But with the underlying economics, I'm sure that's the best they could do, and I'm sure glad they did it. Chuck could probably speak to this phenomenon well.
The stuff recorded in the 70s on labels like Muse also suffered due to the rubber-bandy sound of a double bass fed through an amp, and due to poor recording techniques overall. I find that these things sometimes take away from the quality of the music, and permanently lock it into another time period far far away.