This panel explores how gendered experiences shape engagement with jazz and improvisation throughout the educational continuum—from primary school to tertiary study and professional practice—across three national contexts: Australia, the United Kingdom (UK), and the United States (US). Jazz, despite its rich history of innovation and collaboration, has long been shaped by male-dominated narratives and participation. Women and gender-diverse individuals remain underrepresented in jazz histories, pedagogies, and performance across global diasporas. The panel addresses the shared gap in inclusive jazz education research and practice, drawing attention to systemic barriers to equitable participation in improvised music.The panel critically examines how gender influences engagement with jazz and improvisation, and how these influences intersect with teaching approaches across different educational stages and cultural contexts. Each paper contributes to a growing body of research that challenges traditional narratives and pedagogical practices in jazz education. By weaving together research, practice, and policy, the panel aims to strengthen a global music education community that is inclusive, innovative, and connected. Collectively, the presentations offer insights into how gendered experiences are shaped early and persist through formal education, and how educators can intervene to foster more equitable and creative learning environments. The discussion highlights how inclusive jazz education can serve as a powerful catalyst for equity, artistic expression, and cultural transformation across diverse educational contexts.The first speaker explores gendered barriers to jazz in Australian primary school music through a study of 10- and 11-year old students entering their first instrumental band program. Using Participatory Action Research and a queer theoretical lens, the study analyses students’ understandings of jazz and improvisation. Although students may not be able to clearly articulate what jazz is, their actions and language already reflect a highly gendered dynamic, shaped by cultural narratives and peer interactions that prioritise masculinity. Stereotypes about instrumentation and dress influence how students perform and perceive musical roles; however, classroom discussions and reflection help students challenge these norms, developing more expansive ways of engaging musically. The findings suggest that making hidden stereotypes speakable can disrupt entrenched norms and promote equity across gender identities.The second speaker presents findings from a UK based mixed method study of secondary school music teachers, both classroom and instrumental. It investigates their experiences, attitudes, and beliefs in relation to jazz and improvisation. The study reveals that gender is a significant factor in shaping the amount and type of jazz-related activity, as well as levels of confidence and anxiety. Even though music teaching in UK schools is predominantly a female profession, jazz and improvisation occupy a marginal space in the curriculum. Findings highlight tensions between performativity and creativity agendas in schools, and issues of teacher agency, freedom, and control. The study argues that barriers exist for women and girls in schools that must be addressed if gender participation in jazz and improvisation is to change. The findings show that many female teachers had experienced institutionalised sexism through being discouraged from participating in jazz and improvisation in their formative years. The study highlights the need to address gender inequities through adopting inclusive pedagogies in order to break the cycle for future generations. The third speaker shares results from a US-based mixed methods study of female collegiate jazz instrumentalists who pursued jazz performance as a college major. The study surveyed 40 current and recently graduated undergraduate and graduate students, and conducted interviews and observations with a subset of four participants. This combination of quantitative and qualitative data collection enabled a comprehensive exploration of self-efficacy, attitudes towards jazz improvisation, personality traits, and experiences of discrimination. Findings show that respect from male peers is significantly correlated with multiple variables, yet participants reported being underestimated by those same peers. Improvisation anxiety and fear of embarrassment were prominent, and many participants expressed discomfort with the competitive nature of jazz improvisation. Interviews revealed experiences of sexual harassment and discrimination, underscoring the emotional and psychological toll of navigating a male-dominated field. The study highlights the need for institutional and cultural change to support female jazz musicians in higher education and to foster a more connected and supportive learning environment.Together, these three papers form a cohesive narrative that spans the educational journey of jazz learners—from early childhood to professional training. They demonstrate how gendered experiences in jazz are shaped by cultural narratives, institutional structures, and peer dynamics, influencing participation, confidence, and identity formation.This panel builds bridges between educational sectors, national contexts, and pedagogical approaches. It proposes actionable strategies for educators to foster inclusive, creative, and equitable learning environments, contributing to revolutionise jazz as an affirming space for all genders. The collective findings underscore the importance of empowering educators and learners to challenge traditional narratives and enrich the future of jazz music—locally and globally.