Home » Jazz Articles » Album Review » Vincent Chancey Trio: The Spell

Vincent Chancey Trio: The Spell

By John Sharpe
September 8, 2020
View read count

It's not everyone who gets to be name-checked in the title of an album by

Sun Ra

piano
1914 - 1993

" data-original-title="" title="">Sun Ra, but Chicago-native

" data-original-title="" title="">Vincent Chancey inhabits a select club thanks to Taking A Chance On Chances (Saturn, 1977), (mis-)named after an improvised duet between his French horn and Ra's piano. As well as the Arkestra, Chancey's French horn has also featured in the bands of

Carla Bley

piano
1938 - 2023

" data-original-title="" title="">Carla Bley,

Lester Bowie

trumpet
1941 - 1999

" data-original-title="" title="">Lester Bowie,

David Murray

saxophone, tenor
b.1955

" data-original-title="" title="">David Murray and

Dave Douglas

trumpet
b.1963

" data-original-title="" title="">Dave Douglas among over 300 sideman dates. But in spite of such prominence he doesn't possess a large discography under his own leadership.

In fact the limited edition LP The Spell is only the fourth entry in a career spanning some forty-four years, so this release of a 1987 concert recording is a welcome addition. Alongside Chancey are bassist

Wilber Morris

bass, acoustic
1937 - 2002

" data-original-title="" title="">Wilber Morris (late brother of trumpeter and conductionist Butch) and percussionist

Warren Smith

drums
b.1934

" data-original-title="" title="">Warren Smith (an alumnus of

Max Roach

drums
1925 - 2007

" data-original-title="" title="">Max Roach's M'boom ensemble) in a contemplative jazz trio. All three bring charts to the table which exploit the resources to hand, particularly Smith's versatility. His use of marimba on three of the four tracks adds a distinctive chamber music flavor.

Smith plays marimba on the head of Morris' "Chazz," which introduces Side A with a slow bluesy lilt, before switching to drumkit, as Chancey preaches and entreats. The malletted instrument also provides another contrapuntal voice alongside Morris pizzicato on the title cut, a yearning ballad by Chancey. Morris offers regular reminders of what a marvelous player he was, offering deliciously resonant slurs behind Smith's solo and extending the textural variety with arco flourishes at mini-crescendos in the horn man's melodious outing.

Chancey takes advantage of the full range of his horn, suggesting a higher pitched more agile trombone at some points and reaching down to the tuba dwelling depths at others. But whatever the register there is an elegance and lyricism to his sound. That is even true on Smith's "Free Form #10," a short piece which lives up to its billing, as a series of brief compositional signposts frame choppy open improvisations. There is lots of expressive interplay throughout, but especially during the spiritual vibe of the bassist's "Afro-Amerin" which is the highlight, where Chancey's churchy ululations intertwine with Morris' bowed grounding, amid recapitulations of the uplifting hopeful refrain.

The slightly murky sound is the only drawback, but the quality of the music overcomes any qualms.

Learn more about our star rating system

Track Listing

Chazz; The Spell; Free Form #10; Afro-Amerin.

Personnel

Vincent Chancey

french horn

Wilber Morris

bass, acoustic

Warren Smith

drums

Album information

Title: The Spell | Year Released: 2020 | Record Label: NoBusiness Records

PREVIOUS / NEXT

I Wish I Knew
< Previous

The Legacy of Leonard Bernstein: Po...
Next >

Support All About Jazz

All About Jazz has been a pillar of jazz since 1995, championing it as an art form and, more importantly, supporting the musicians who make it. Our enduring commitment has made "AAJ" one of the most culturally important websites of its kind, read by hundreds of thousands of fans, musicians and industry figures every month.

Go Ad Free!

To maintain our platform while developing new means to foster jazz discovery and connectivity, we need your help. You can become a sustaining member for as little as $20 and in return, we'll immediately hide those pesky ads plus provide access to future articles for a full year. This winning combination vastly improves your AAJ experience and allow us to vigorously build on the pioneering work we first started in 1995. So enjoy an ad-free AAJ experience and help us remain a positive beacon for jazz by making a donation today.