Anne Bourne (b.1958) has performed on the concert stage and recorded internationally with artists such as Jane Siberry and Loreena McKennit.Within the context of recording for film and dance scores, she creates improvisation strategy compositions. She has been a music recording producer for television and independent film scores, and for her own recordings.The last song she released was Blue Ballet on Pine Ridge , WEA. The most recent recordings of her work released are a cello trio called Vesica on Musicworks magazine, and a live performance of Oliveros' Primordial Lift with Tony Conrad and David Grubbs on Table of the Elements, 2000. She continues to perform as an improvising cellist and vocalist, with artists such as Fred Frith and Pauline Oliveros. In 1999 she initiated the woman's improvising choir Sonar Mara within which she teaches Deep Listening™, authentic voice work, and the reclaiming of sound healing and composing in the moment. She has worked with Pauline Oliveros since 1994 and is a Certificate Holder from the Rose Mountain Retreats. She is the mother of a young daughter named Willa.

"In contrast , Sunday morning's meeting of Canadian cellist Anne Bourne and Brooklyn-based drummer Susie Ibarra was an openhearted, passionate exploration of melodies that hovered between classical, jazz, and folk - perhaps a perfect meeting of minds from two extraordinarily different cultural backgrounds. Bourne -- whose embrace of Celtic musical forms matches that of her frequent employer, harpist Loreena McKennit-- is an earthy, unrestrained musical force. She often accompanies her cello with otherwordly vocalizing, which combine in music that sounds almost trance-like.Her organic approach is ideally suited to Ibarra's highly textured and melodic drumming. Combining South Asian percussive techniques with her growing mastery of the trap set, Ibarra created a seamless rhythmic tapestry behind Bourne. Although the two had never performed together, the communication between them was telepathic, and their obvious joy in making music was palpapable throughout the sun-drenched gallery."

James Hale CODA Magazine Issue 289
(review of Guelph Jazz Festival Sept 1999)