there is no such thing as jazz chords[ what a load of cobblers].they are chords with added notes, often 9ths, sixths, 13, major sevenths , flatted fifths ,11ths so on.
they are sometimes suitable for traditional music and sometimes not.
which is why guitarists like carthy opt for modal chords and the doubling of notes 1 and 5 of the chord[ it gives a dulcimerish effect]. Carthy may also sometimes play added notes, but when he does they are often added to a modal chord.[one with the the third note removed]this is less common in jazz and more difficult to achieve in standard tuning which is what most jazzers and ragtime players [blind blake, Dave van Ronk[[occasionally drop d]]use.
again Ishall quote from the jazz book[ THE DECORATIVE,EMBELLISHING PARAPHRASE WAS THE MAIN IMPROVISATIONORY DEVICE OF THE OLDER JAZZ FORMS. clarinettist Buster Bailey relates at that time[1918]i wouldnt have known what they meant by improvisation.But embellishment was aphrase i understoodand that was what they were doing in New Orleans.
I quote page 152[ AND part contribution from HUMPHREY LITTLETON.
1.the once improvised is equal to improvisation.
2 the once improvised can be reproduced by the one who produced it , but by no one else.
3 Both improvisation and the once improvised are personal expressions of the situation of the musician who produced them .
4.the concurrence of improviser, composer and interpreter belongs to jazz improvisation.
5, In so far as the arranger corresponds to part4 his function differs from that of the improvising composing interpreter merely in terms of craftsmanship and technique; the arranger writes,even when writing for others, on the basis of his experience as an improvising composing interpreter.
6Improvisation- in the sense of points 1 to5- is indispensable to Jazz;improvisation in the sense of complete spontaneity may occur, but is not a necessity.[ from j e berendt TheJazzBook.] Dick Miles