«Women in Jazz» Through the Ages

From historical voices to modern leaders – a concert program about the role of women in jazz music

The Latvian jazz scene has been changing slowly but noticeably in recent years. While the stage was previously occupied mostly by men — especially behind instruments like the double bass, drums, or brass — today we increasingly see women not only at the microphone but also in the rhythm and horn sections. A new generation is appearing at festivals, club concerts, and in the academic environment: female musicians who are not afraid to write music, lead ensembles, or clearly formulate their vision of what the jazz stage can be.

These changes do not happen overnight; they often arrive through specific projects — programs that illuminate women’s stories and provide space for a new kind of energy and presence. One of the most striking initiatives in this direction is the concert program «Women in Jazz», in which five musicians meet on stage: vocalist Santa Šillere, pianist Anna Vibe-Gorkuša, double bassist Beāte Meirāne, drummer Milana Maksimova, and guitarist Māra Bula.

This program is not just a concept project, but a living dialogue with jazz history and the present day — a tribute to the women who shaped this music, and at the same time, a confirmation that women are increasingly taking leadership positions on the Latvian stage as well. In this conversation with Santa Šillere, we discuss how «Women in Jazz» was created, what it feels like to play in an all-female lineup, and why it is still important to talk about equality in jazz.

How did the «Women in Jazz» project come about? Was it a deliberate idea?

The project was born very naturally. It’s clear to all of us that female ensembles are a relevant topic today, but I didn’t arrive at this concept with any specific plan — everything just clicked. It started with the Brooklyn Jazz concert series organized by «M/Darbnīca.» I chose musicians I wanted to play with at the time. I had recently met pianist Anna Vibe-Gorkuša, with whom I had immediate chemistry. I had already been making music with double bassist Beāte Meirāne for a while, and I definitely wanted her in the lineup. Then I realized — we are three ladies. And I thought: could there also be a woman on drums? I went to Tālis Gžibovskis and asked if there were any female drummers. Tālis confidently recommended Milana Maksimova, a 4th-year student in the jazz department. Right there as well was guitarist Māra Bula, whom I had also recently met. That’s how the quintet was formed, quite organically. Now, after four concerts, I see that none of this was accidental.

What is the goal and content of this program? What is «Women in Jazz» to you?

The program is called «Women in Jazz,» and it is a tribute to women in jazz. We play music from different times and generations — of course, there’s Sarah Vaughan and Ella Fitzgerald, but there are also works by contemporary authors. It’s not just a «tribute,» but rather an attempt to tell the story of a woman in jazz from different perspectives — as a vocalist, leader, composer, and personality. It is very important to me also to discuss their decisions, courage, leadership skills, and their place in history. Many people don’t know, for example, that Astrud Gilberto wasn’t a professional singer at first — she bravely «stepped into» that situation by chance, and that is exactly what created the conversational, softly expressed vocal style of bossa nova.

I studied many videos of Nancy Wilson, Peggy Lee, and others — women who essentially led bands, even though it wasn’t taken for granted at that time. They were already independent and brave back then, and I want to highlight that. It seems important to me to show that what we consider a «new norm» today is actually rooted in what they started many years ago.

The program has two layers: on the one hand, a tribute to those who came before us, outlining the historical context for listeners; on the other, a clear, modern message about the female voice in jazz today.

You mentioned stories — which women’s stories do you find particularly important in this program?

I like stories in general. Starting from stylistic nuances to specific decisions and situations. For example, Astrud Gilberto — an «accidental» singer — essentially helped define the sound of an entire style. There are also interviews and videos where you can see Nancy Wilson or Peggy Lee leading a band, standing their ground on arrangements, and determining how the song will ultimately sound. It is very inspiring to see how a woman not only sings but also serves as a bandleader, a mood-setter, and a controller of the situation. I like to bring these examples out in the concert and talk about them. Because we often associate these artists only with «voice,» «star,» or a «beautiful dress,» but I want the audience to see their backbone, their decisions, and their courage.

How important do you think it is to talk about such things specifically nowadays?

Nowadays, it is important to talk about everything. Especially about those topics that people tend to relegate to the past with phrases like «the grass was greener then, life was easier,» etc. History shows very clearly that the path to women’s equal presence, including in jazz, has not been self-evident. Personally, it has always been self-evident to me that we live in an equal world. I haven’t experienced another model or time as something «normal.» Still, looking back at history, seeing testimonies, interviews, and stories, it becomes clear to me how important it is not to remain silent about these things. In art, music, and daily life, a respectful attitude is fundamental, and, in my opinion, gender should not be an obstacle to it.

Now you have experience playing in an all-female lineup. What were your feelings — both in rehearsals and in concerts?

It was a new experience for me. In the first rehearsals, I felt a very light, natural energy. I wouldn’t say there is any «gender difference» professionally — at the end of the day, we are all musicians, professionals doing our job. But I must admit, in the first concert, there was a feeling that the energy was different. I can’t quite describe it — it was flowing, organically growing. With my usual «guys,» there tends to be a different character — sometimes more unexpected impulses, more explosive dynamics, more turns. I like that a lot, too. With the girls, that concert flow went very intuitively, with a natural culmination, without unnecessary extra straining. An empathetic surrender specifically to that moment in the music, mutual listening. There was also a lot of humor — exchanging looks, smiling at each other on stage. Even though I don’t have a sister myself, the feeling is that sisterhood prevails on stage. And that’s not just our internal impression — even after the concerts, people said there was «a different energy.» To what extent that is about gender, and how much is about the specific program and repertoire — it’s hard to say, probably everything clicking together, but it is felt.

Was there no feeling that you are doing something very special and important, and that’s exactly why it all «flows»?

In the first concert, probably not — then it was more about the music for me, a new program, a new lineup, playing together. But by the second and third concerts, I started to see how it affected the audience. I felt it particularly strongly when children and young people came to the concert. They see that a girl is sitting at the drums, that a girl is playing the double bass, and for them, it’s «wow.» What might still seem «unusual» to someone is already becoming a norm for them. However, it’s not just children who are surprised — the older generation audience also comes up after concerts to share their impressions. It breaks stereotypes for both the older and younger generations. With each concert, I felt more and more that we were carrying some larger message than just a «musically cool program.» And that is both inspiring and a responsibility.

I personally attended a «Women in Jazz» concert on March 8th, and the feelings were twofold — on one hand, a super initiative; on the other, a kind of «here is your official day, play now,» but on March 9th, everything is back to the old way. Your first concert wasn’t tied to this date, was it?

No, and I am very happy about that myself. I have also had experience with a concert meant «specifically for March 8th,» and the feeling is exactly as you say — a bit fake. As if for a moment we get raised stages and flowers, but already the next day everything returns to where it was.

With «Women in Jazz,» everything happened outside of this officially recognized day, and I think that is important. It’s not about one date on the calendar, but about long-term presence and process. I also don’t like it when it’s sometimes said, «Now it’s popular to gather girls,» or speculation about privileges at festivals. I have always been on the side that says — it doesn’t matter whether you are a woman or a man; what matters is whether you are a good musician. In this case, everything really happened organically. We met, we played together, and only over time did I start to realize what this project means in a broader context.

Will «Women in Jazz» continue in the future?

Yes, definitely. We already have concerts planned in Riga and the surrounding area; another is planned in Ogre, and more will be added along the way. It’s no longer just a single project for one specific event — it has become a regular meeting on stage. We have developed great chemistry; each concert brings something new — both musically and in how the audience reads and perceives the concept. I am looking forward to seeing how all of this develops further.