The paradigm of intersectionality, coming to criticize the conventional theoretical and rhetorical divisions of "classical" feminism (Crenshaw 1991, Hill Collins 2000), appears as a "dissonant" conceptual proposition. Dissonance cannot only be considered as disturbing. The tension and the problems that it implies can only be an original link between the different components of the sound, although testing the first level of coherence of the latter. Jazz, eminently dissonant and historically heterodox, has nevertheless demonstrated its adequacy with the American experience of the twentieth century. Moreover, it contains a reflective dimension of its contemporary actors. Would the black woman, struggling with multilateral discrimination, find in the jazz gesture a metaphorical representation of her struggles and resistance? It is through the analysis of the historical pronouncements of major female artists of the Blues and Jazz currents that we will evoke the avant-garde birth of a Black female specific speech, therefore deeply "proto-feminist", by its mere existence.