One of the fastest ways to revitalize any jazz or groove-based ensemble is to break out of the same old charts and tap into current jazz and global grooves. Too often, school bands stick to traditional swing and charts totally reliant on reading notation — with all their nuance, complexity, and assumptions. It's also not relevant to their lives — current or future (how many big bands are active today?).
That’s OK for some – but not for everyone. In fact, only the very few ‘jazz heads'.
What Is a “Jazzy” Musician Today?
Not every student drawn to the school jazz ensemble fits the traditional mold. In fact, more and more of them don’t. And many can get turned away.
They may have internal rhythm and feel but lack fluency in reading notation. They may be drawn to funk, Latin, lo-fi, hip hop, Afrobeats, or Snarky Puppy, Lettuce, and Vulfpeck grooves over Count Basie. They’re creative, curious, and full of energy — but may not come with years of formal training.
These students are what we call “jazzy musicians.”
So, what defines a jazzy musician today?
- They’re interested in playing current, groove-based jazz – not just swing — and doing it on their own terms.
- They’re not always readers, but they can listen deeply and play with feeling.
- They love discovering and are open to new grooves from around the world. Cuban timba, Afrobeat, soul-jazz, samba, funk — they’re hungry to explore and experience rhythm and identity.
- They might not “know theory” cognitively — but they’re musical. They may improvise naturally, copy riffs by ear, or experiment with chords on a keyboard or guitar.
- They’re idea-generators. They want to suggest tunes, try new forms, or rework a song into something fresh.
- They’re often newer to music school culture — but eager to learn. They might not match the formal band kid resume, but they’ve got instincts, drive, and unique perspectives.
- They may be great readers of music, but don't see the relevance of traditional jazz and the strict structure surrounding it.
Here’s the thing: Jazzy musicians aren’t underprepared. They’re differently prepared. And they need a framework that values what they bring — and builds from there. That single point of reference that includes everyone.
Traditional Jazz Education: A Quick Contrast
The traditional jazz classroom often expects:
- Fluent music readers (they are most welcome)
- Knowledge of Western harmony and chord progressions
- Clear roles: melody, harmony, bassline, comping
- Fixed instrumentation: 5 saxes, 4 trumpets, 4 trombones, rhythm section
But what if your group doesn’t have that? What if your students don’t read well, or want to play synth, or bring their own loop in from Soundtrap?
Traditional approaches often exclude before they empower. And while they produce strong players, they can unintentionally filter out creative voices who just need a different path in.
Jazzy Musicians Need a New Model
That’s where Unison-Based Content (UBC) and the PlayTheGroove resources come in.
By simplifying entry points, focusing on groove and unison melody, and encouraging exploration over perfection, we can create a space where:
- Non-readers can still participate meaningfully
- Creativity is a starting point — not a bonus
- Cultural musical knowledge is treated as legitimate knowledge
- Students grow into deeper musicianship — including theory — through experience and relevance
The jazzy musician isn’t a lesser version of the “jazz student.”
They’re often more curious, more rhythmically aware, and more attuned to modern musical culture. What they need is not a shortcut — just a different starting place.
Let’s build ensembles that welcome them.
Let’s teach jazz as it lives today — as a living, breathing, global, groove-based, and joyful art form.