At Little Rock Southwest High School, Jazz isn’t just another performance ensemble — it’s a cultural outlet, a confidence builder, and a way for students to see themselves inside an American art form born from Black music. Director Jose Holloway leads the Little Rock Southwest High School Jazz Ensemble — sometimes performing under the name “Smoove Groove” for more contemporary sets — with one central idea: “a soulful group who can swing.”

The program currently serves grades 9–12 and includes 5 reeds, 3 trombones, 4 trumpets, and a 4-piece rhythm section (about 16 students total). Even though the group is relatively young — with the school itself only about six years old — the ensemble has already developed a strong sound, deep community ties, and a clear musical identity shaped by the HBCU Show-Style marching tradition.

A Program Rooted in Culture

Q: What makes your Jazz program stand out?

A: “Our marching band is really what makes our Jazz band unique. That’s what they identify with — and it translates to everything else."

Even though the band features a mix of races and ethnicities, the cultural heartbeat is unmistakable. The groove, the showmanship, as well as the connection to black musical traditions and America's first art from give the band its spirit. 

"We're playing music from nearly a hundred years ago, but the kids connect to it like it was written yesterday,” Holloway added.

Teaching Philosophy: "Swing, Swing, and Swing"

Q: What core concept do you prioritize most in your program?

A: "Swing, swing, and swing. That's the foundation,"

He credits a session with Dr. Ollie Liddell where he learned to teach swing through feel and using a simple rhythmic phrase: "cut the cheese." It's about feel, internal time, and pulse. Swing, to him, isn't a style — it's the foundation.

Building Improvisers (Without Fear)

Holloway's approach to improvisation is about confidence and rhythm first. Start with one note (F) over an F blues. Then add a second note, (Ab). Then add as you build confidence and musical knowledge.

"The most important element in Jazz is rhythm, not notes. I've been on a bandstand running one note and people go crazy — because it's rhythmic."

This incremental process helps students listen better, feel successful early, and stop seeing Jazz as intimidating after hearing Jazz greats such as Charlie Parker, John Coltrane, or Miles Davis.

Repertoire: Swing That Fits the Band

Holloway draws repertoire from:

• Essentially Ellington Charts

• Charts from local band The 106th Army Jazz Band (Camp Robinson)

• Shared charts from known Jazz educators and others around the state of Arkansas

When selecting rep., he asks:

• Which tunes actually swing?

• Which highlight our strengths?

• Which hide/diminish our weaknesses?

Memorable Moment: Dreamland Ballroom

During the ensembles first year, their concert at Dreamland Ballroom remains a defining moment. Holloway taught his students about the historic 9th Street District and legends who'd played there — Duke Ellington, Ella Fitzgerald, Louis Armstrong, Dizzy Gillespie, and Clark Terry.

"Y'all don't understand— Duke Ellington has been right here in this space." Holloway told his students.

For his students, performing there was transformative. Several alumni have since earned college scholarships to programs like Southern University, Tennessee State, and the University of Memphis.

Jazz > Confidence > Musicianship > Opportunity

Preparing for Auditions

Instead of over-focusing on etudes, Holloway teaches big band charts and performance music first, then connects it to audition skills later.

"To learn how to improvise over changes, I taught them scales, then 2-5-1 Key Centers. Well, guess what all-region asks for? They ask for 2-5-1 Key Centers."

He reserves audition prep for the final three weeks and connects every concept to what they've already done musically. 

For college auditions, he:

• Works one-on-one

• Records students

• Uploads recordings to Google Drive

• Sends recordings to college directors directly

He proudly reports over $15 million in scholarships awarded to his students.

Leadership and Teamwork

Holloway compares Jazz band to basketball:

"Everybody individually has to be great for us to win."

He encourages independent musicianship within Jazz but emphasizes structured leadership in marching band. Section leaders must master the music and pass it off before they can help or teach others — ensuring every player leads by example.

Cultural Impact

Jazz has elevated Little Rock Southwest's reputation and internal pride. Holloway says Jazz students are often the strongest players in the marching band and enjoy the respect they obtain from their peers and staff alike just for being in their Jazz program.

"This is one of the few places we get to really do us and be us."

The ensemble has changed public perception, showing that their students can perform at the same artistic level as larger more affluent programs. 

"We can play on the same stage as y'all, just as well."

Why Students Love Jazz

From Mr. Holloway's perspective:

• They're playing music from their own culture

• Experiencing academic music that doesn't feel academic

• The energy — "we get to snap, clap, and move people"

• The balance between discipline and joy

"Jazz sits between marching band and wind ensemble. It's down home, comfortable — but still academic." 

Why Jazz Matters Here

Jazz gives the school visibility, cultural pride, and proof of excellence. Despite stereotypes or testing pressures surrounding his school, Holloway says Jazz shows the world what his students are capable of.

"This is how we show we belong on the same stage. The notes in our ZIP code are the same ntoes anywhere else in the world."

Director's Notes: Advice for New Teachers

• Keep Swinging — Both figuratively and literally

• Ask for help. Pride stops growth

• Start with rhythm.

• Teach real music first.

• Celebrate every small win.

"Trouble don't last always. If you keep swinging, it'll get better."