Anna Webber’s Simple Trio — Binary (Skirl, 2016)
I’m partial to the art of surrealist Yves Tanguy, a contemporary of Salvador Dali’s. Whereas Dali used familiar objects contorted into dreamlike shapes, Tanguy’s worlds were entirely alien. His sense of shape and color pointed to other planes of existence: blobby figures that suggested living beings in sparse landscapes under grimly discolored skies.
You could think of Binary‘s cover art as a hypermodern take on Tanguy. But what really brought the painter to my mind was the track “Tug o’ War,” with the piping register of Anna Webber’s flute and the tick-tock percussion from John Hollenbeck. I think it’s supposed to conjure images of a malevolent toy shop, but what sprang to my mind were the puzzling, misshapen objects of Tanguy’s landscapes.
Strange, unexpected logic blossoms all around Binary, with Webber’s flute and saxophone tracing fluid curves and squiggles. Matt Mitchell’s piano sometimes matches the flow, as on the brief, dancing “Meme,” but in other cases, he goes for a blocky, stormy attack.
The latter strategy turns Mitchell into an accomplice to John Hollenbeck’s pounding drums, creating some highlight-reel moments during the 14-minute “Impulse Purchase.” Hollenbeck also uses his teletype Claudia Quintet style to lend a crisp, modern air to tracks like “Underhelmed.”
The title track is a particularly nice piece of work, patiently building into waves of soulful saxophone against stormy piano chording. It’s an emotional and severe piece, but also downright pretty.
Then there are the “Rectangle” series of miniatures, each packed into a couple of minutes “Rectangles 3b” is all rigid geometry and stiff lines. “Rectangles 3c” is a strident hurry-up beat, minimalism on caffeine with a skip in its step. “Rectangles 1a,” by contrast, starts slowly and builds into an abrasive climax, a complete short story in its own right. Little windows peeking into different worlds, much like paintings in a gallery.