On Sunday, March 8th, International Women’s Day will be marked in Winnipeg with a vibrant celebration of creativity, mentorship, and musical excellence. The Women’s Led Jazz Symposium 5.0 takes place at the Centre culturel franco-manitobain, bringing together students, educators, performers, composers, and jazz enthusiasts for an afternoon designed to inspire and empower participants of all ages and backgrounds. .embed-container { position: relative; padding-bottom: 56.25%; height: 0; overflow: hidden; max-width: 100%; } .embed-container iframe, .embed-container object, .embed-container embed { position: absolute; top: 0; left: 0; width: 100%; height: 100%; } The day begins with a dynamic slate of presentations and workshops, including a virtual keynote by internationally acclaimed trumpet player, composer, producer, and band leader Rachel Therrien. Participants can explore interactive breakout sessions, hands-on instrumental and vocal creativity workshops, and a Women in Jazz “Her-Story” presentation. The celebration continues in the evening with a 7:30 p.m. concert tribute to Joni Mitchell, featuring vocalists Heitha Forsyth and Andrina Turenne alongside the Winnipeg Women’s Jazz Orchestra. In advance of the event, saxophonist and composer Monica Jones and bandleader Alexis Silver shared their thoughts on how the jazz landscape is evolving — and why this symposium matters more than ever. Have things changed for women in jazz? For many musicians who came of age in the 1990's, jazz education and performance spaces often felt like male-dominated arenas. Reflecting on those earlier decades, Silver noted how limited representation shaped her own path. “I was in the classical program. Back in the '90s, there wasn't a jazz program. We had a jazz big band, but there wasn't the faculty of jazz at U of M when I went through. So there wasn't really an option for me. If I had wanted to study jazz, I would have had to go elsewhere.” While she always felt welcomed, Silver acknowledged the lack of visible role models. “It didn't really sink into my brain that that was something that I could explore because I'd never saw myself represented on stage or leading a big band or in sessions and stuff, there were only like just a very, very few.” Jones has seen tangible change in more recent years. “I think so, yeah, things are changing,” she said. “There are more and more coming up and just going to jam sessions now, I see so many young females playing instruments, playing like trombone and upright bass and it's so great to see.” She believes visibility is key. “And I think just like people seeing people and they realize maybe I can do it too. So that's what I've noticed A lot.” Changing the narrative in jazz education Both Jones and Silver are deeply involved in education, Jones through private saxophone instruction and Silver as longtime band director at Sisler High School. Conversations about representation are now part of their teaching practice. “We talk about the fact that women were historically left out of documented stories in the history books," Silver explains, noting how traditional listening lists often excluded instrumentalists who were women. “Whenever people give you like your listening lists and [say], 'Hey, go to these great players, you should always listen and listen and listen,' usually, women weren't on those lists.” That, she says, has changed dramatically in the past decade. “Educators are sharing lists like here are the top 10 players you should listen to, and everybody has gone and found like, oh, Melba Liston, let's put her down there, right?” Today, the balance is far more visible in her classroom. “For me personally speaking at Sisler like usually when I have a jazz history paragraph project 50/50 it's male and female which is so great to see.” A day of learning, listening, and doing At the heart of the Women-Led Jazz Symposium is participation. Jones has previously led the “You Can Do It” improvisation sessions and describes them as welcoming spaces for all levels. “It's important to note that this symposium is open to everybody, not just only females. and not just only students, adults, any age, it doesn't matter. And it doesn't matter where you are in your journey as a musician.” From beginners to experienced players, everyone is invited to experiment. “There's just like beginners who can maybe play five notes and that doesn't matter. So just getting everybody to try out improvising over just a basic chord structure like the blues, that's always been such a fun experience.” The atmosphere is intentionally supportive. “It's just no pressure, just a welcoming experience and everybody is so... just cooperative and inspiring with one another. And it's just been a great, great takeaway for the symposium.” Silver is particularly excited about the national scope of this year’s keynote and collaborations. With partnerships involving ensembles in British Columbia and Calgary, the event takes on a cross-Canada dimension. “It is kind of cool that we have a little bit of a cross-Canada structure here,” she said. The young women in jazz ensemble Now in its third year, the Young Women in Jazz Ensemble has become a cornerstone of the symposium. Silver describes it as “kind of like an honor jazz event, but it's non-auditioned.” Teachers nominate outstanding female, female-identifying, or non-binary students, and a big band is formed from that pool. “It's more like a draft than it is an honor band audition process. But all of these young people can handle the music.” Participants prepare in advance, rehearse intensively, and perform a pre-concert set before the Winnipeg Women’s Jazz Orchestra takes the stage. The structure creates a powerful arc: students learn in the afternoon, perform in the evening, and then watch seasoned professionals bring complex scores to life. “It’s a pretty cool thing,” Silver said of that “beautiful through line.” New music and a sold-out tribute Jones, meanwhile, will deliver the symposium’s closing remarks, discussing her commissioned work for the joint Winnipeg Jazz Orchestra and Manitoba Band Association project. “I was approached by Alexis probably maybe in the fall about doing, writing something for the young women in jazz ensemble. And so of course I said, 'Yes, that sounds like an awesome experience.'” She adapted an existing composition called “Butterfly Language” for high school–level big band. “It's somewhat challenging, but hopefully still approachable,” she said, promising insight into how the piece evolved from a smaller group setting into a full ensemble arrangement. The evening concert, already sold out, will feature ten big band arrangements of Joni Mitchell’s music. Silver is eager to hear them come alive. “All of the songs are familiar to me. None of the arrangements are. These are nothing I've played before. They're all brand new. And some of them are really charmingly weird.” After weeks of listening to MIDI demos, she’s ready for the real thing. “I'm really looking forward to hearing the actual big band bring it to life and hearing Andrina and Heda sing it… It's going to be pretty cool to actually hear it come alive.”