This article began as a response to a question from a high school band director facing a situation that is far more common than we sometimes admit: a small jazz ensemble with incomplete, unconventional, or constantly shifting instrumentation.
The director asked:
What do you suggest I do with an instrumentation of trumpet, alto sax, bari sax and guitar? In addition to this mismatched quartet, I have a drummer who can attend once per week and I am playing bass lines on the piano. We are currently playing Bob Turner arrangements, from Magnolia Music Publications, but I question whether the sole focus of our daily rehearsals should be practicing these charts in preparation for the concert.
Rather than treating this as a problem to be fixed as quickly as possible, I want to suggest reframing it as an opportunity. Small, imperfect ensembles—especially those without a full rhythm section—can be ideal environments for developing the very skills that define jazz musicianship.
Repertoire as a Tool, Not a Destination
There is an understandable appeal to “flexible instrumentation” charts. They offer an immediate sense of polish and remove logistical obstacles. But when charts become the primary or exclusive focus of daily rehearsals, they can quietly crowd out the deeper work that small-group jazz makes possible.
In contrast to rehearsing a big band or concert band, the goals of a jazz combo rehearsal are fundamentally different. A combo is where students learn:
- how to improvise with intention
- how to accompany and respond in real time
- how to listen across the ensemble
- how harmony actually functions inside a tune
- how repertoire is internalized, not just read
These are lifelong, transferable skills. They do not depend on ideal instrumentation.
Using Play-Along Resources Strategically
When a consistent bass player or drummer is unavailable, high-quality play-along recordings can serve as a temporary scaffold rather than a crutch. Used thoughtfully, they allow students to experience form, harmony, time, and feel while you work toward building a complete rhythm section.
One long-standing and still useful option is the Jamey Aebersold Play-Along Series. If I were starting with limited resources, I would prioritize:
- Vol. 1 – How to Play Jazz and Improvise
- Vol. 54 – Maiden Voyage
Volume 1, in particular, offers arpeggiation and chord-tone exercises that introduce students to outlining harmony—an essential step toward meaningful improvisation.
Because these recordings are mixed with bass and piano on separate channels, directors can easily adapt them to different situations by adjusting speaker balance—removing the recorded bass or piano when a live player is present.
Designing Rehearsals Around Musicianship
With daily rehearsals, you have an enormous advantage. Rather than spending that time exclusively polishing charts, consider structuring rehearsals around:
- learning melodies by ear
- singing roots and guide tones
- simple harmonic analysis
- call-and-response improvisation
- listening to recordings and discussing what students hear
As the ensemble grows, students can begin copying lead sheets by ear, working from a fake book, or creating simple head charts. I often recommend The New Real Book (Sher Music) as a practical resource once students are ready.
Long-Term Perspective
Most school jazz programs do not begin with ideal conditions. Rhythm sections take time to develop. Schedules shift. Students come and go. That reality does not disqualify the work—it defines it.
If you orient your combo rehearsals toward listening, interaction, and musical decision-making, students will be far better prepared when a full rhythm section eventually comes together. More importantly, they will understand jazz as a practice, not just a collection of charts.
Limited instrumentation is not a liability. It is an invitation to teach what matters most.