Grammy-winning musician Roxy Coss, originally from Seattle, has emerged as a significant figure in the New York City jazz scene since 2007.
Coss has made a name for herself as a saxophonist, composer, educator, and activist, constantly advocating for inclusivity in jazz music.
During a performance and interview at the KNKX Studios in 2019, Coss reflected on the substantial impact her Seattle upbringing had on her music career.
Raised in a creative environment by her artist mother, Coss honed her skills at the notable Washington Middle School and Garfield High School, where she was fortunate to learn under Clarence Acox and Robert Knatt.
“Both teachers … were very, very instrumental in creating dozens of professional jazz musicians who are now in New York thriving,” she shared.
Coss proudly identified herself as part of a generation shaped by these influential educators, emphasizing her participation in the prestigious Essentially Ellington High School Jazz Band competition.
Garfield’s band competed three times, achieving second place in 2002 and first place in both 2003 and 2004.
“The timing of [Essentially Ellington] becoming very popular was good for me,” Coss noted.
Her experiences in New York during these competitions solidified her desire to pursue jazz as a profession.
Despite the supportive environment of her education, Coss recognized the persistent gender imbalances within jazz music.
She pointed out that even in her early days, she noticed she was often one of the few female musicians in her band.
As she transitioned into her professional career, she continued to witness inequities in the music industry.
In response to these challenges, Coss co-founded the Women in Jazz Organization (WIJO) in 2017, alongside fellow vocalists Aubrey Johnson and Tahira Clayton.
With a mission to promote equity for women and nonbinary individuals in jazz, WIJO began as a supportive community among musicians.
“We started out meeting every month and quickly solidified the mission statement, which is that we want to help level the playing field so that women and nonbinary people have an equal opportunity to participate and contribute to jazz,” Coss explained.
As WIJO evolved into a registered nonprofit organization in New York City, it fostered a community where women and nonbinary jazz musicians could collaborate and support each other’s career aspirations.
Coss expressed her joy in seeing the network grow, stating, “It’s been an amazing couple of years of actually watching myself become closer to women in jazz.”
The organization encourages members to reach out to one another for performance opportunities and collaborations, transforming the competitive nature of the industry into a more supportive environment.
Discussing the challenges young girls face when considering a career in music, Coss pointed to lower expectations as a significant barrier.
She stated that many girls drop out of music programs as they age, often feeling discouraged or unsupported.
Coss noted that some young girls have expressed to her that seeing her perform has opened their eyes to the possibility of pursuing music as a career.
“Just seeing you play, it’s an option now in my mind,” some have told her, highlighting the importance of representation in the arts.
In summary, Roxy Coss continues to pave the way for greater gender equity in jazz through her music, educational efforts, and the initiatives of the Women in Jazz Organization.
Her dedication to supporting and uplifting fellow musicians promises to enrich the jazz community for generations to come.
image source from：knkx
