Finally, it is the use of rhythmic structures or simply, rhythm, that distinguishes the great jazz improvisers. To conceive and execute rhythm is as demanding a task as conceiving and executing melodic structures and harmonic structures. This is what improvisation is about. When done creatively and with swing, the result can be a memorable solo that people would want to hear over and over and that could be analyzed and dissected. Once the concept of rhythmic play is mastered, then it is a relatively simple matter to use that as a framework for melodic and harmonic development.
Most jazz rhythms, although complex in nature, utilize a relatively simple base.
These are not peculiar but, rather, uneven numbers. They only seem peculiar because most musicians have never taken the time to study and internalize the many opportunities to expand their rhythmic horizons. It's akin to playing music in only three or four keys. If the musician doesn't take the time to learn to play in all twelve keys, he is limiting himself. As the musician learns other aspects of the rhythmic universe, the more his overall sense of rhythm is expanded.