My knowledge of JAZZ music is very superficial. I don’t know how to distinguish it. Anyway, when I hear the taste, I know it’s JAZZ.
I don't have time to study JAZZ.
I think most of us can relate to that, though one thing I've learned over many years is that I've been listening to jazz since the 70s, but didn't then realise that it was jazz. In the 60s and 70s, "jazz" by that name largely disappeared from the music scene, to be replaced by R&B and Progressive Rock, but when you look closer at those, quite a few were heavily jazz influenced ... that's where lots of jazz musicians went to earn money.
Back then I thought I didn't like jazz. But actually I was listening to jazz in the forms of progressive rock. I was a huge King Crimson fan, but it was years before I realised just how much they were jazz driven. By the 80s, jazz-funk and jazz fusions were appearing everywhere. Now I'm influenced more by African and Latin and their fusions.
Jazz largely grew out of The Blues in America, but it crossed the Atlantic, toured Europe, picked up quite a bit of Kletzmer. then went back to the US. It's been touring the world ever since.
In fact, I think music is a complex.
Music ranges from drone, though plainsong and Gregorian chant, to folk and blues to classical to Schoenberg and beyond. It's what you want it to be.
There's an expression that applies in lots of places, though is probably best known from aircraft testing: "pushing the envelope". It means reaching into the corners of what's expected. In a musical context, it's trying to find the unexpected. Perhaps a dissonance or "edge" that triggers an emotional response, perhaps an unusual rhythm.
Quite a lot of the "clever" stuff in jazz was found simply by people pushing for a little more tension, or indeed just playing a wrong note and thinking "wow, that sounded good". People play ahead of the beat to add a little "drive", or play a little behind the beat to make a more laid-back sound.
So I would say, be comfortable with what you do, but also embrace that envelope. Maybe allow the timing to be flexible, try the odd 7, 9, 11 or 13 or 6/9 chord and see what sounds you get. Try them flatted or sharpened. If you like the effect, keep it, if you don't, then remove it or change to another. You may find you get more "zing" in what you produce.