Label: Iola Records, 2019

Personnel - Stacy Dillard: tenor and soprano saxophones; Josh Evans: trumpet; Andrae Murchison: trombone; Zaccai Curtis: piano; Christian McBride: bass; Jerome Jennings: drums + Guests - Tia Fuller: alto and soprano saxophones, flute; Camille Thurman: vocals, tenor saxophone; Endea Owens: bass; Carlos Maldano: percussion; A.J. Jennings: percussion.

A bristling energy comes out of Dizzy Gillespie’s “Be-bop”, the tune that opens the second album of drummer/composer Jerome Jennings. The slapping beat is altered when sectional swing forays come to prominence, and we find him trading fours with the soloists: saxophonist Stacy Dillard, trombonist Andrae Murchison, trumpeter Josh Evans, and pianist Zaccai Curtis. The driving force evinced here is spread throughout the album, a musical love letter in support of the struggles of the most vulnerable people in our society.

Establishing a deep connection with his cohorts, Jennings presents seven originals motivated by social justice and equality with a central focus on African American women, and four covers delineated with a gimmick-free approach to jazz.

Unpacking its content with a clear and resolute 4/4 post-bop grace, “Recy’s Lament” was written for Recy Taylor, an African American woman from Alabama who refused to stay silent after being brutally raped by white men in 1944. The bassist heard here is Endea Owens, who, on the closing track, the ballad “You Are Never Far Away From Home”, plays side by side with Christian McBride, who appears on the remaining tracks. The latter develops a magnificent intro on the masterfully orchestrated “The Theory of Difference”, an energetic piece that homages poet, writer, and activist Audre Lorde, whose work focused on topics such as civil rights, feminism, lesbianism, and the exploration of black female identity. The bandleader’s rhythmic jabs become noticeable after Dillard’s squiggly soprano rides and Curtis’ adroit pianism.

With the Latin exuberance of “Marielle (for Marielle Franco)”, the drummer pays tribute to the late Brazilian political activist who fought against sexual exploitation and domestic violence, as well as LBGTQ injustices. A wise shift in rhythm marks the beginning of Tia Fuller’s nice soprano solo. She is also present on the colorful rendition of the 1991 R&B classic “I Love Your Smile”, here earnestly sung by Camille Thurman, who makes sure to bring charm into her performance; and “Pay It No Mind”, composed in dedication of transgender activist Marsha P. Johnson and launched by the methodic marching mechanisms inflicted by the snare drum.

On “Convo With Senator Flowers”, Jennings abides by an inflamed speech professed by Senator Stephanie Flowers against open carry laws in the state of Arkansas, deftly following its course with synchronous drum manifestations and accents, whereas on Woody Shaw’s “Three Muses” he discourses himself with authoritative spells of groove, giving an extra impetus to the blasting excitement that results from the tune’s 3/4 impulsivity.

The expressive musical ideas that inhabit this drummer’s mind diffuse into so many shapes and colors while maintaining a firm voice toward social justice. Jennings smartly grasps elements of the tradition in order to innovate, having in Solidarity a confident, notable step in his career.

Favorite Tracks:
01 - Be-Bop ► 05 - I Love Your Smile ► 06 - The Theory of Difference