World jazz as a world phenomena, and ethno jazz as its lokal counterpart, were created by combining jazz and local music cultures. This work brings the historical context of the creation of the genre and its key words and concepts, connected to world music and the scene of ethno music in Croatia. I am examine the ways of negotiating these two musical languages on a musical-sound and non-musical level, using the methodology of attentive listening and contextual analysis, as well as through ethnographic work based on four interviews with ethno jazz musicians. I describe the characteristics of ethno jazz using my own analytical framework, applying it first on the case of the pioneer of the genre in Croatia, Boško Petrović, and then on four case studies: Tamara Obrovac, Borna Šercar and Jazziane Croatice, Hojsak & Novosel duo, and Mak Murtić and Mimika Orchestra. By focusing on their opuses, I am explain the hybrid musical expression of 6 ethno jazz, and bring foth the ideas of the musicians about their own musical expressions, their approaches to jazz and local musical traditions, and their understanding of the scene in general. I also inquire into the ways jazz and traditional music continue their lives within etno jazz, and deal with etno jazz as a response to globalization, which, through connecting a global genre such as jazz, with local music cultures, stands as a representative of glocal contemporary music practices. The etno jazz scene in Croatia is not large, and this work represents the first endeavor to present its participants comprehensively, to understand the scene more deeply, to describe its main characteristics, and to help it, perhaps, eventually unite.