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430: ANNA WEBBER with MATT MITCHELL and JOHN HOLLENBECK. simpletrio2000

Intakt Recording #430 / 2024

Anna Webber: Tenor Saxophone, Flute, Bass Flute
Matt Mitchell: Piano
John Hollenbeck: Drums

Recorded on December 19 and 20 at Big Orange Sheep, Brooklyn, NY, by Chris Benham.

Original price CHF 12.00 - Original price CHF 30.00
Original price
CHF 30.00
CHF 12.00 - CHF 30.00
Current price CHF 30.00
Format: Compact Disc
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Every new album by Saxophoneophonist, flutist, and composer Anna Webber feels like a revelation, and a huge step forward in a discography of the highest quality. Anna Webber‘s simpletrio2000 which comes a decade after the release of the group’s debut Simple, expresses their deep curiosity and tireless creativity. At the intersection of avant-garde jazz and new classical music, Webber’s work has been hailed as “visionary and captivating”. With her previous albums, she has regularly ranked at the top of the relevant charts. The Simple Trio is her longest-running band. Since its formation in 2013, few bands in improvised music have displayed such an effervescent energy and adventurous spirit. The group, which also includes drummer John Hollenbeck and pianist Matt Mitchell – both accomplished composers and bandleaders – makes music that is anything but ‚simple‘. But the complexity of the music, which cannot be ignored, is accompanied by a stormy cheerfulness, and Peter Margasak raves about the "addictive energy and interplay occurring within the trio at all times."

Album Credits

Cover art and graphic design: Jonas Schoder
Liner notes: Peter Margasak
Photo: Des White

All compositions by Anna Webber (SOCAN/ASCAP). Recorded on December 19 and 20 at Big Orange Sheep, Brooklyn, NY, by Chris Benham. Edited by Anna Webber. Mixed by Nathaniel Morgan at Buckminster Palace, Brooklyn, NY. Mastered by Brent Lambert, The Kitchen, Carrboro, NC. Produced by Anna Webber and Intakt Records. P.O. Box, 8024 Zürich, Switzerland.

Customer Reviews

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T
Troy Collins
Point of Departure

Each new album in the budding discography of Canadian saxophonist, flutist, and composer Anna Webber sounds like a step forward in the nebulous intersection between avant-garde jazz and new classical music. The wryly titled simpletrio2000 is the third album by Webber’s Simple Trio, following the group’s sophomore release Binary (Skirl, 2016), and debut, Simple (Skirl, 2014). Initially formed in 2013, Simple Trio is Webber’s longest-running band. The ensemble, which includes drummer John Hollenbeck and pianist Matt Mitchell – both veteran composers and bandleaders – performs Webber’s intricate compositions with an attention to detail that is anything but simple, although the complex music is often delivered with a buoyant flair.

Each Simple Trio release has explored different facets of composition. Although rhythmic complexity has long been part of Webber’s arsenal, for the band’s third effort, she focuses on polyrhythms. The pieces are built on jagged, start-stop rhythms and the repetition of elaborate contrapuntal lines that lend the proceedings a sense of tension and release, rather than discord. Webber’s multi-sectional compositions often assign two musicians to notated scores while allowing the third to improvise. Although much of the music is spirited, the album includes moments of restraint that counterbalance more frenetic passages. The ten tracks also include short solo pieces spotlighting each member, providing additional moments of introspection amid tightly woven group interplay: the intervallic lyricism of “Fixed Do” for tenor saxophone; the dramatically hastening piano chord progression “g=GM/r2” (the formula for determining acceleration due to gravity); and the resounding tuned drums feature “Ch9tter.”

“Slingsh0t” opens the recording with chiming refrains that progress into a terse harmonic sequence underpinned by brisk tempos in oscillating rhythmic patterns. “Idiom VII” advances polyrhythmic dalliances even further, evoking phrases played simultaneously backwards and forwards as tempos rush and falter with impressive accuracy; the flute-driven “Foray” exudes similar microtonal drama. “Five Eateries (In New England)” evokes a range of Ivesian textures in Mitchell’s plunging lines, Hollenback’s angular groove, and the leader’s warm tenor. The pointillist opening of “miiire” and the slow burn of “8va” provide temporary respite, while the final cut, “Movable Do (La-La Bémol)” is built on a cyclical motif underpinned by a labyrinthine clockwork groove, as Webber and Mitchell take turns alternating lead and support positions.

Throughout the program, Webber switches between tenor saxophone, flute, and bass flute, directing the mood with an array of tone colors and extended techniques. Mitchell’s staccato chording imbues the music with a shimmering percussive quality, while Hollenbeck’s precise, orchestral drumming provides a solid foundation, irrespective of meter. Together these three offer a continued inquiry into the limits of Creative Improvised Music, tempered by a subtle sense of humor. Marking a decade since the unit premiered, simpletrio2000 confirms the group as one whose distinctive approach boldly continues to push the music forward in an unforced and satisfying manner.

https://www.pointofdeparture.org/PoD90/PoD90MoreMoments4.html

M
Mike Shanley
The New York City Jazz Record

Anna Webber's new album might be called simpletrio2000 but the only thing simple about this group relates to the ease in which they navigate the bandleader's complex ideas and original compositions. Along with Webber (tenor, flutes), the trio includes Matt Mitchell (piano) and John Hollenbeck (drums), a unit whose origins date back just over a decade and were heard most recently on half of Webber's double-disc 2021 release Idiom (the second disc features a large ensemble). Together they mesh with a precision that feels intuitive, anticipating solo and support role changes in the music, and playing stuttering passages with tight cohesion that occasionally creates the feel of a skip in the recording. Like much of Webber's work, simpletrio2000 dexterously walks the line between unhinged, unrestrained improvisation and modern composition.

"Idiom VII" starts with droplets of tenor notes, matched precisely by drums, rising and falling in dynamics before the trio really begins to gain momentum. Like the album, the music may sound a tad rigid, but certainly not stiff. Hollenbeck keeps it spiky by accenting a trippy beat. By the end, the saxophonist and pianist escape the gravitational pull of the tune's ostinato. "Fixed Do" makes the case that Webber could easily pull off a solo tenor album. Barely over two minutes, it features an inventive flow of ideas both lush and rough that could go on for much longer, instead of climaxing with some incredible octave leaps. "Five Eateries (In New England)" also features some rapid-fire playing in the opening minutes.

But it is on the selections where Webber switches to flute which offer some of the album's most electric and memorable moments. "Foray" begins with an ominous low-end piano figure that spurs both flute and drumming interplay to ecstatic heights. Along with "miiire" (on which bass flute is added), the trio seems to create their own new version of swing, where knotted-up clusters have an effortless facility. Mitchell and Hollenbeck, who also get brief solo pieces of their own, contribute mightily throughout, making the sound more expansive than one might expect from this bare-bones instrumentation. The pianist's combination of pedal point and delicate rolling chords provides a great foil to Webber's tenor overtones in "8va", and Mitchell's performance on "Moveable Do (La/La Bémol)" closes the album with sheer fire power.

The music might not be simple but it sure feels inviting.

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