For many composers, inspiration can come from where they never considered looking—until they did. Brooklyn-based saxophonist, flute player, composer and band leader Anna Webber pulls and interprets inspiration from curious places—including microtonal sounds on YouTube.
As a composer and multi-instrumentalist, Webber busies herself juggling multiple solo-led and co-led projects at once. Her forthcoming release, Clockwise (Pi Recordings, 2019), represents her fifth as a solo leader, and combines her appetite for research with her artistic tendency toward individualism and exploration.
The Jazz Galley: You have such a strong voice as a composer. You seem to create new sounds from existing instruments and existing combinations of instruments that feel, texturally, very meaty. Where does instrumentation fit within your identity as a composer?
Anna Webber: That’s a really good question, and it definitely does. Kind of early on in my composition development, I decided I didn’t want to use the instruments always in the traditional way. Kryptonite to me compositionally is having the saxophone always be the melodic instrument and the bass always be the bass instrument. It’s like there’s these roles that are super easy to relegate instruments to—and obviously there’s a lot of music that I really love that does that, but I try to avoid it as a writer.
TJG: Strong word, relegate.
AW: I think it’s true, and I think a lot of people just do it without thinking about it: “Yeah, well I have this melody and this instrument.” And my whole thing has always just been to not have the instruments in their traditional roles. When I’m writing a specific piece, I make lists of all the different combinatorial possibilities of orchestration—solos, trios, duos—and then try to use all of those. So I think just being hyperaware of orchestration is something that drives me.
TJG: Did you study traditional orchestration?
AW: No, never. Compositionally, I wouldn’t say I’m self-taught, but my composition background is a little scrappy. I did performance degrees in my undergrad and master’s, and then I did a one-year master’s program in Berlin where I studied with John Hollenbeck. So I had already been writing a lot of music and John really helped me; he’s someone that I consider a mentor as well as a friend and colleague at this point.
I think that the way jazz is taught, from a composition standpoint to performers in school, is relatively scrappy anyway. There’s not a lot of going through traditional orchestration, aside from, “Here’s how you orchestrate saxes for a saxophone soli in a big band.” Whenever I write for an instrument that I’m not familiar with, I read a lot about that instrument and try to figure out exactly how it sounds, how it works, what the good registers are, how hard it is to do certain things on the instrument. And I think all of that stuff contributes to the orchestrational techniques that I end up using.
Stemming from the [philosophy that] I don’t want to have instruments in their traditional roles—or if I do, it’s not like that’s the role they’re in for the whole piece—the thing that I’ve come to a little bit more recently is trying to use sound and timbre as organizing forces that are as important as harmony, rhythm, melody in my music. So when I’m beginning a piece, [I try] to think about timbre first and use that in the pre-compositional way that I would use any of those other elements.