Jewish women have played an important role in the development of Jazz as achieved success in the field as vocalists, instrumentalists, and in Jazz' musical business.

The impact of Jewish identity on these musicians' work varies, with their Jewishness intersecting intriguingly with other aspects of their identities, particularly their femininity. During the swing era of the 1930s and beyond, several Jewish women, especially in the United States became notable big band singers. In the late 1940s and 1950s, as bebop transformed jazz, Jewish women continued to thrive in the genre.

From the 1960s and 1970s onward, Jewish women in jazz embraced a broader array of instruments. Additionally, as jazz gained international prominence, Jewish female jazz musicians from various parts of the world, notably the United States, Israel and Europe began to play a bigger role.

In the swing era of the 1930s and beyond, numerous Jewish women achieved prominence as big band singers. Helen Forrest (born Fogel, 1917–1999) stood out, lending her vocals to major white big bands such as Artie Shaw, Benny Goodman, and Harry James.^[1] Renowned for her flawless pitch and melodic sensibility, she became one of the era's most popular female vocalists, earning the moniker "the voice of the name bands."^[2] Kitty Kallen (1921–2016), the daughter of Russian Jewish immigrants, also made a mark, showcasing her talent with acclaimed bands like Artie Shaw, Jack Teagarden, Harry James, and Jimmy Dorsey.^[3] Despite not emphasizing their Jewish heritage in their music, Fran Warren (1926–2013) and Georgia Gibbs (1919–2006) garnered acclaim as big band singers, contributing to both white and black ensembles.^[4]

In a distinctive fusion of jazz and Jewish music, Merna (1923–1976) and Claire Barry (1920–2014), born Minnie and Clara Bagelman, found success as the Barry sisters. Performing jazz songs in Yiddish, including those at the Catskills, on television, and the "Yiddish Melodies in Swing" radio show, they incorporated liturgical pieces and popular Jewish melodies into their repertoire.^[5][4] Drummer Florence "Fagle" Liebman (1922–2011) embraced a different approach, briefly passing as black while playing with the all-female African American big band, The International Sweethearts of Rhythm. Her versatility allowed her extended to collaborations with jazz luminaries such as Sarah Vaughan, Oscar Peterson, Dinah Washington, and Ray Brown.^[4]

In the late 1940s and 1950s, Jewish women made significant contributions to jazz, a period marked by the expansion of jazz through the emergence of bebop. Barbara Carroll, a notable figure, showcased her piano and vocal talents in various trios, earning praise from prominent critic Leonard Feather, who hailed her as "the first girl ever to play bebop piano." Sylvia Syms (born Blagman, 1917–1992) immersed herself in the vibrant jazz scene of New York's 52nd Street clubs during her upbringing, listening to icons such as Billie Holiday, Lester Young, and Art Tatum.^[6][7] By the 1940s, she was singing in these clubs, earning acclaim from jazz icons like Holiday, Frank Sinatra, and Duke Ellington.^[8] Teddi King (1929–1977), another gifted vocalist, commenced her career in the 1940s, collaborating with musicians like Beryl Booker, Nat Pierce, George Shearing, and Dave McKenna.^[9][10] Noted for her sensitive interpretation of lyrics, King received accolades for her performances.^[9][4][10] Corky Hale (born Marilyn Hecht, 1936) gained recognition for her dynamic soloing and piano accompaniment but became particularly renowned for her success as one of the few jazz harpists. Acknowledging the male-dominated nature of jazz, Hale resisted all-female bands, emphasizing her desire to succeed as a musician by working with male counterparts.^[11][12][13]

In the 1960s and beyond. Renowned singer and pianist Judy Roberts (b. 1942) boasts a discography of over twenty albums and multiple Grammy nominations.^[14] Janis Siegel (b. 1952), celebrated for her role in the Manhattan Transfer, contributed to the group's ten Grammy wins, showcasing their expertise in both jazz and popular music, particularly with Siegel's arrangement of "Birdland" in 1981.^[15]

Amidst the second-wave feminism movement, Jewish women in jazz challenged traditional boundaries, exemplified by vocalists Madeline Eastman (b. 1954) and Kitty Margolis (b. 1955), who founded the independent record label Mad Kat. Taking greater economic control of their careers, they recorded albums featuring acclaimed jazz musicians as sidemen.^[16][17]

Furthermore, women increasingly excelled in traditionally "male" instruments, with notable woodwind players emerging in the 1970s. Soprano saxophonist and composer Jane Ira Bloom (b. 1955) stood out not only in mainstream jazz but also as a pioneer in electronic collaborations with dancers, classical musicians, and artists from Asian musical traditions.^[18][19][4] Lena Bloch (b. 1971), a saxophonist with roots in Russia, Israel, and Europe, garnered acclaim for her albums blending Eastern European, Middle Eastern, and Western classical influences within the framework of the Lennie Tristano school of improvisation.^[20][21]

Four Jewish women pianists have gained recognition for pushing musical boundaries. Myra Melford (b. 1957) stands as an avant-garde jazz pioneer, collaborating with Art Ensemble of Chicago's Joseph Jarman, Henry Threadgill, Butch Morris, Leroy Jenkins, and others.^[22][23] Besides her jazz endeavors, Melford has delved into Indian classical music. Michele Rosewoman (b. 1953) boasts nine recorded albums, working with avant-garde jazz figures like Oliver Lake and Billy Bang, as well as mainstream artists such as Freddie Waits and Rufus Reid.^[24][4][25] Notably, Rosewoman has excelled in Latin music, leading her Afro-Cuban big band, the "New Yor-Uba ensemble."^[24] Marilyn Crispell (b. 1947), classically trained, transitioned to jazz inspired by John Coltrane's A Love Supreme.^[26][27] Known for her tumultuous solo albums and a decade-long collaboration with free jazz saxophonist Anthony Braxton, Crispell evolved toward a more lyrical style in her later career. Influenced by Ornette Coleman and Albert Ayler, Annette Peacock (b. 1941) pioneered the "free-form song," devoid of a steady beat or predetermined harmony. Her innovative compositions, recorded by various jazz musicians, showcase her distinctive use of the Moog synthesizer, while her keyboard and vocal work extended into the realm of "art rock."^[27][4]

Jazz has been prevalent in Israel since the British Mandate, however it only gained traction locally in the 1990s. Several Jewish Israeli women were prominent including Liz Magnes (b.1943), Edna Goren (b. 1945), a jazz singer of Yemenite origin known as "the first lady of Israeli jazz," , (piano), and Iris Portugal (b.1966).^[28]

Anat Cohen, an Israeli saxophonist and clarinetist, has delved into an extensive array of musical styles within jazz and beyond, encompassing Israeli tunes and the rhythms of Brazilian and Cuban music. While she is primarily recognized for her prowess on the clarinet, an instrument less common in contemporary jazz, Cohen identifies herself as an "international musician," also saying "I try to bring that to all of the music I play. Music has no borders and no flags.", in an interview for the Jewish Journal.^[29][30][31]

Julia Feldman, born in Russia in 1979 and now residing in Israel, is both a vocalist and pianist.^[3] In 2006, her ensemble paid tribute to Billie Holiday through a recording. Since then, Feldman has showcased her musical versatility, engaging in a diverse range of styles in both live performances and recordings.^[4][5] Sophie Milman, also originally from Russia but raised in Israel and born in 1983, has gained recognition as a singer based in Canada. Her distinct and composed vocal style has earned acclaim, and she has collaborated with notable figures like Gary Burton, Chick Corea, and the Manhattan Transfer, transcending boundaries between jazz and pop music realms.^{[32][33][34][35][36][4]}

Jewish women have left their mark on the jazz music industry, making contributions both formally and informally. Miriam Bienstock (1923–2015), daughter to Russian-Jewish immigrants, played an important role during the early years of Atlantic Records, a label founded in 1947 that recorded numerous significant jazz and pop artists. Bienstock assumed various responsibilities within the label, serving as a talent scout, bookkeeper, deal negotiator, and overseeing day-to-day operations.^[37][38]

Baroness Pannonica de Koenigswarter, known as "the baroness of Jazz", originally from England and born Rothschild, had sporadic involvement in the music business, primarily as a manager. However, she emerged as a crucial benefactor to bebop musicians during the 1940s and 1950s. Her support extended beyond financial aid, encompassing actions such as covering rent, providing accommodations, buying food, offering transportation, assisting with employment opportunities, and hosting jam sessions at her apartment. Beyond tangible assistance, she offered invaluable encouragement and support to musicians. Due to her contributions, she became an integral part of musicians' circles, earning their admiration to the extent that several notable jazz compositions, including three by the renowned pianist-composer Thelonious Monk, bear her name in the title.^[39][40]