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2011-2012 Jazz Institute Berlin - Master's Degree in Composition; student of John Hollenbeck and Greg Cohen; graduated with highest destinction
2008-2010 Manhattan School of Music - Master's Degree in Jazz Performance (Flute and Sax); student of Jason Moran, George Garzone, Steve Wilson; 4.0 GPA
2002-2006 McGill University - Bachelor's Degree in Jazz Performance (Flute); 4.0 GPA
New York-based flute and saxophone player Anna is a versatile improviser holding both an open respect for the tradition of jazz and a healthy disregard for its more worn conventions.
Her critically acclaimed first album as a leader, Third Floor People (Nowt Records, 2010), is an adventurous release featuring two bassless quartets – one from Montreal, the other from New York. Made up of musicians drawing from diverse influences and backgrounds, Third Floor People is unique in its palpable emotional energy and fearless experimentation.
In addition to leading her quartets, Anna also plays in the collective Field Vision; the Martin Krümmling Ensemble, which recently recorded with Mark Turner; the Daniel Jamieson Danjam Orchestra, in which Webber performed with Tony Malaby as well as Jim McNeely and recorded with Village Vanguard Jazz Orchestra mainstay John Riley; the Ben Bryden Flying Scot Quintet and Fabian Almazan’s wind sextet, among many others. She appears on the Grammy-nominated album Urbanus (Concord Records, 2009) by Stefon Harris & Blackout, and has performed with such diverse talents as John Hollenbeck, David Liebman, Ben Street, Lage Lund, and Dave Douglas.
She has toured throughout the USA, Canada, and Europe as a leader and a sideperson. She is the winner of the Prix François-Marcaurelle 2010 at the OFF Festival of Jazz in Montreal. She received national recognition as a finalist in the Mary Lou Williams Saxophone Competition in Washington, D.C. In addition, she has been honoured with grants from both the Canada Council for the Arts and the Conseil des arts et des lettres du Québec.
A jazz flute and saxophone player with the ability to also teach clarinet, guitar, and piano, she has taught students of all ages and skill levels privately, through music academies, and at public and private schools. She has been on faculty as a woodwind, band, and theory instructor at Manhattan School of Music’s summer camp, and has been a featured clinician for jazz ensembles at schools both in the USA and Canada.
-for beginners: Standard of Excellence books; Trevor Wye books
-music from my extensive collection of scores, lead sheets, and classical sheet music
-recordings, transcriptions of popular/jazz songs
-playing by ear
-improvisation
I adjust my teaching style to the student's learning process. No two students learn in exactly the same way, so there is no point in teaching as if they did! While I emphasize basic technique and sound, I believe the point of music lessons is to foster creativity and an appreciation for the arts. Music teachers should do all within their power to make students love music more than they did previously. Practicing should be something that students look forward to! I try to find the part about playing music that sparks each individual student's interest and encourage them in that direction.