Breaking the Sound Barrier: Women in Jazz with Anna Brooks

From Jools Holland to Brooklyn Funk Essentials Anna has been forging a path for women on albums, theatres and tv, but what does it mean to be the only woman in the room, and what happens when you own that spotlight?

Jazz is a music of freedom. Improvisational, defiant, and boundary-pushing. Yet, for all its radical spirit, the genre has not always offered equal footing to those who don’t fit the mould of its male-dominated legacy. Women have long played vital roles in jazz as vocalists, composers, instrumentalists but their contributions have often been side-lined, their presence in horn sections or rhythm sections treated as exceptions rather than norms.

I experienced liberation from this when I joined Ivy Big Band in Edinburgh, Scotland’s first all-female and gender minority big band. Rehearsing and performing in a room with them felt electric, both because of the music we were making and the space we were claiming. It was proof of what’s possible when representation meets opportunity. And yet, in most jam sessions and saxophone sections, the gender gap still remains.

That’s why I reached out to the incredible Anna Brooks to hear her expert thoughts on the industry. Along with teaching for Sax School Online, Anna has forged a remarkable performing and recording career in a space where women are still underrepresented onstage, behind the charts, and in the rehearsal room. From supporting Jools Holland’s Rhythm & Blues Orchestra to arranging and leading in her own right, she has built a name grounded in both excellence and visibility. 

You may have spotted her most recently on Jools’ Annual Hootenanny on New Years Eve where she tore the house down with her epic sax solos; she certainly blew me away and if I’d have watched that as a little girl it would have done wonders for my confidence as a sax player. Her work spans genres, jazz, funk, pop, classical, and her presence continues to challenge expectations about who gets to stand at the front of the stage, horn in hand.

In our conversation, Anna is generous, clear-eyed, and unafraid to name the pressures that come with being a woman in a still unequal scene. But she also points to the joy, pride, and progress that make it all worthwhile. This interview isn’t just about her, it’s about what her story tells us about the past, present, and future of women in jazz.

“The Only Woman on Stage”: What Visibility Really Means in a Male-Dominated Jazz World

When asked whether her identity as a woman in music has ever felt especially visible, either in empowering or challenging ways, Anna Brooks doesn’t hesitate to say: both.

“Walking on stage as the only female instrumentalist in a band—which is a regular occurrence for me in many groups I play in—is a constant reminder of how male-dominated the space can be,” she reflects. That visibility can feel isolating; a reminder of how far the industry still has to go. But it’s also, she says, “empowering when you know you’re representing something bigger than yourself.”

Brooks has had women of all ages come up to her after shows or message her online, telling her it was the first time they’d seen a woman playing saxophone at that level. For many, it changed their perception of what was possible.

“Those moments,” she says, “make the visibility feel worthwhile.”

In a field where gender imbalance often remains unspoken, Anna’s presence onstage speaks volumes. Her experiences reveal just how powerful and how complex visibility can be for women in jazz.

Playing Twice as Hard to Be Heard: The Pressure of Proving Yourself

For Anna Brooks, the expectation to prove herself has never been a one-off challenge, it’s been a constant.

“From the very start of my career right up to the present day,” she says, “I’ve felt I had to play twice as well as the next person just to be taken seriously.”

The bias is rarely blatant. But in settings like studio recordings, rehearsals, gigs, and jam sessions, there’s often a moment— “a flicker of surprise”—when she starts to play.

“It’s as if there’s an assumption I’m there as a token female to tick a box. Then they hear me and realise I’m a highly accomplished saxophonist.”

Those moments don’t undo the burden. Early in her career, she was told more than once, “Wow, you play like a man”—a backhanded compliment that reveals just how deep the assumptions run. Over time, Anna has learned to channel that pressure into “solid preparation and quiet confidence.” But, she adds, “it’s exhausting when the expectations aren’t the same for everyone.”

Her words speak to a quiet but relentless demand many women in jazz still face: to be more than good, just to be accepted.

No Roadmap to Follow: Growing Up Without Women on the Stand

When Anna Brooks began learning saxophone, female role models were few and far between. “Female saxophonists were almost invisible,” she recalls. “In the ’90s, Candy Dulfer came onto my radar, but other than her, all of the players I admired were men—and that’s still very much the case.”

This lack of representation didn’t stop her, but it shaped her. With no clear blueprint for what a career might look like as a woman on sax, she had to imagine her own version.

” It was both motivating and isolating. I think it made me more determined,” she says, “but it also delayed my sense that I belonged in the scene.”

Not seeing anyone who looked like her at a high level made that belonging feel hard-won. Yet it also deepened her drive to become the role model she never had.

Loud, Proud, and Prepared: Anna’s Advice to Women Starting Out

For women stepping into the saxophone world (especially in spaces where they might be the only female instrumentalist) Anna Brooks has a message:

“Your playing speaks louder than stereotypes.”

She urges newcomers to “prepare well for any performance, play loud and proud, shine your light.” Confidence, she insists, is key but it doesn’t have to be real to be effective. “Confidence, or even faked confidence, will carry you through most situations.”

Anna also stresses the importance of saying yes to every opportunity, even when it feels daunting.

“Always say yes to performance opportunities—including that 16-bar solo in the band you play in—even if you don’t feel confident. If you don’t, you may not be asked again!”

Surrounding yourself with people “who encourage and challenge you in equal measure” can make all the difference. And above all, she reminds women that they belong, just as they are: “You don’t have to act like one of the lads to belong; you bring value just by being yourself.”

“A Saxophonist, Not a Stereotype”: On Labels and Visibility

When asked whether she ever feels pigeonholed as a “female saxophonist” rather than simply a saxophonist, Anna Brooks doesn’t hesitate.

“For decades I refused to take on a gig if someone said they specifically wanted a female saxophonist,” she says. That label, while well-meaning, often felt like it reduced her musicianship to a novelty.

But her perspective has evolved. “About 15 years ago I changed my approach,” she explains. “I realised that really good female instrumentalists are still a huge minority for many reasons, and that I ought to be visible.” Rather than shy away from the descriptor, Anna has leaned into it; not for personal promotion, but to carve space for others. She now regularly uses #femalesaxophonist on social media to ensure that visibility is part of the solution.

“These days I’m proud to be part of a growing community of high-level female musicians,” she says. “I see value in visibility when it helps others find their place.” While she’s clear that she hopes to inspire all saxophonists, she feels “a special responsibility to encourage and support women on the instrument at every age and stage.”

Envisioning a Future Where Talent Speaks Louder Than Gender

When asked what her dream future for the saxophone world looks like, Brooks doesn’t describe a utopia of perfection but one of normalcy. 

“A scene where gender isn’t remarkable,” she says, “where a talented player can walk into a rehearsal or a jam session, see a genuinely mixed group of musicians, and experience no preconceptions.”

Her vision is one of balance and breadth: more women not just on stage, but in every musical role—from section players to bandleaders, producers, educators, arrangers, musical directors, and headline artists. For Anna, it’s not about women replacing men, it’s about expanding the spectrum so that the next generation grows up seeing that inclusion is the standard, not the exception.

It’s a vision rooted in experience, but fuelled by optimism and a quiet belief that, with enough visibility and support, that future isn’t far off.

Shaping the Sound of What Comes Next

Anna Brooks’ story is one of persistence, craft, and quiet revolution. She is, undeniably, one of the UK’s most accomplished and versatile saxophonists. But she is also part of something bigger: a movement towards a more inclusive, visible, and representative jazz world.

What emerges from our conversation is a powerful tension. On one hand, the joy of playing, the sheer musicality, the love of the instrument. On the other, the burden of being “the only woman in the room,” of having to exceed expectations just to be seen as equal. But Anna refuses to let that be the whole story. Instead, she chooses visibility. She chooses to play loud. She chooses to be the role model she didn’t have.

And her message to the next generation of players, especially women and gender minorities picking up the sax for the first time, is clear: prepare well, take up space, and trust that you belong. Whether you’re stepping onto your first stage or returning to your practice room after a long break, there is room for you in this story.

Representation doesn’t replace talent, but it helps unlock it. And with musicians like Anna leading the way, the sound of jazz is not just changing…it’s expanding.

Check out Anna’s lessons inside Sax School PRO – start your 14 Day Trial

Read more about Anna here: annabrooks.com 

Words by Brooke Jessop