The “add-and-stir” or “Musician-as-Tourist” approach (Hess, 2023) is evident in the instruction of most middle and high school jazz bands in Canada. Trained in the Western art music tradition, music educators (or more accurately concert band directors) approach teaching jazz ensembles in the same manner as concert bands (Bowman, 1998); jazz ensemble becomes a just-slightly spicier version of concert band, leaving the White supremacy and hierarchical superiority of Western art music intact (Hess, 2023). In addition to the ways that Western art music upholds epistemic injustice towards non-White music traditions, our dominant music education system also upholds ableism. While there are many examples of Black disabled jazz musicians in a music tradition that supported them (see Lubet, 2010), the make-up of the high school jazz band mirrors that of the concert band; indeed, in many, if not most, cases, students must belong to concert band to be part of jazz band. This further entrenches the privilege and dominance of Western art music. As a disabled jazz musician and high school jazz ensemble instructor, how can I practice anti-ableism? What histories and practices of the jazz tradition support anti-ableist teaching practices? In practice, what could these anti-ableist teaching practices look like? Drawing on Lubet’s (2010) work on jazz musicians with disabilities, I will employ narrative analysis to reflect on my own position as a disabled music teacher and jazz musician to explore the ways jazz instruction in schools can both reproduce and disrupt ableism, and the small, transformative activist affordances (Dokumaci, 2023) that can move us towards an anti-ableist or disability justice orientation to jazz instruction in schools.