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Anna Webber's Simple Trio at the King Center

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Courtesy Geoff Anderson

By Geoff Anderson
January 29, 2025
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Anna Webber's Simple Trio
King Center
Denver, CO
January 24, 2025

The state of Nebraska had an unusual slogan for its tourism campaign: "Nebraska, honestly, it's not for everyone." Indeed, with no obvious crowd-pleasers like sunny beaches or majestic mountains, Nebraska must rely on more subtle attractions. Having spent two summers in the state detasseling corn, I can attest to Nebraska's understated charms. Unfortunately, I can't go into the details of what detasseling entails in a family publication like this because detasseling is all about sex. But after spending a few weeks there, taking summer evening bike rides on quiet country roads over rolling hills and past endless cornfields, I began to understand the allure of the landscape.

Similarly, music from bands like Webber's Simple Trio does not rely on obvious crowd-pleasers. The band does not offer up dance-worthy beats or catchy pop hooks. Instead, listeners must dig a little deeper to uncover the rewards. Webber plays flute and saxophone,

John Hollenbeck

drums
b.1968

" data-original-title="" title="">John Hollenbeck is on drums, and

Matt Mitchell

piano
b.1975

" data-original-title="" title="">Matt Mitchell plays piano. The trio has been together for over 10 years, crafting a blend of avant-garde jazz and modern classical music. Traditional notions of harmony and rhythm barely made an appearance during their Friday night concert. Instead, surprise was the evening's guiding principle. Traveling across Nebraska's rolling hills, it is fairly easy to predict what might be on the other side. But with the Simple Trio, cresting the hill means anything—and everything—is possible.

The band released a new album in 2024, simpletrio2000 (Intakt Records). Early in the concert, Webber announced that they would perform the album, beginning with "Slingsh0t," the lead track, followed by "Idiom VII." While the band's instrumentation leans toward jazz, "Slingsh0t" revealed a modern classical influence, reminiscent of

Steve Reich

composer / conductor
b.1936

" data-original-title="" title="">Steve Reich. A casual listen might lead one to think the music was repetitive, but closer scrutiny unveiled a subtle evolution as the piece progressed.

The trio is a master of contrasts, particularly in pitch. Mitchell often stretched his arms wide, playing both the lowest and highest keys at the same time. Webber, too, created stark contrasts on her tenor saxophone, frequently jumping from deep guttural notes to delicate soaring tones several octaves higher.

To truly appreciate the understated attributes of Nebraska, one must visit. Pictures fall short. Similarly, the Simple Trio's music demands a live experience for a full appreciation. Drummer Hollenbeck continually created a percussion smorgasbord by switching sticks and hitting and tapping everything within reach even if it was not a drumhead. At one point, he even rubbed his fingernails across a drum for an effect akin to sliding brushes across the drumhead. He also used a set of sticks with small ball ends, resembling Tootsie Pops, which produced musical tones when dragged across the drumheads.

Webber, too, experimented with sounds on her horns. While she generally held her flute in the traditional position, she occasionally tilted it to a 45-degree angle, changing its tone. Mitchell seemed to be content with the standard operation of his grand piano, but that is not to say that his playing was in any way standard-issue. He played with the intensity and originality of a wild-eyed alchemist—delivering dissonant Monkish chords,

Cecil Taylor

piano
1929 - 2018

" data-original-title="" title="">Cecil Taylor-inspired runs, and fragments of classical piano concertos.

Improvisation is central to the trio's music, but much of it is also highly structured. All three musicians frequently consulted sheet music, and it could be difficult for the audience to discern when they were improvising and when they were sticking to the score. On several occasions, cacophonous sections would suddenly resolve into two-or three-part unison lines. Standard meters in 4 and repetitive chord progressions were rare.

This is music that may push some listeners out of their comfort zone. But, just like judging Nebraska only by the monotony of driving Interstate 80, it would be easy to miss the artistry of the Simple Trio without going deeper and paying attention to the subtleties. That extra effort offers its own rewards.

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