SPILL ALBUM REVIEW: DARRYL JENIFER – THE WEATHER CHANNEL

DARRYL JENIFER
THE WEATHER CHANNEL
ORG MUSIC

In 2010, Bad Brains’ bassist Darryl Jenifer released his debut solo album, In Search Of Black Jesus. The record felt like a natural offshoot of the sonic identity of Bad Brains, as Jenifer fused reggae dubs and electronic effects with hardcore riffs. Sixteen years later, Jenifer has returned with his second solo release, The Weather Channel, a jazz record recorded with Ben Perowsky, Karma “Chogyi” Marco, and John Medeski, along with featured performances from acclaimed composer Karl Berger, and among the greatest drummers of all time, the late and legendary Jack DeJohnette.

The Weather Channel opens with the warm tones of a piano, brushes on cymbals, an upright bass on “Sacred Love II.” The acoustic, jazzy vibe may come as a surprise, but Jenifer is not interested in pandering to his punk roots, as seen by the slow burning melodicism and improvisational approach over a set harmonic structure. While note necessarily adventurous in a jazz context, the melodicism of “Sacred Love II” is nothing short of stunning, while setting the tone for the rest of the album. The following songs, “August” introduces more of a lounge, almost soul feel over an emotive ballad, while “Loves Harmony” feels cinematic and suspenseful through tasteful and soft use of dissonance within the chord progression.

Much of The Weather Channel resides within a lo-fi sound. There are also echoes of reggae – “Rights,” “Rights Dub,” “Just Around The Corner” – and jazz fusion. In this sense, The Weather Channel is a far more encompassing album that continues to demonstrate the rage and complexities of Jenifer’s songwriting and artistry. Key moments include “Re-Ignition II,” the reinterpretation of Bad Brains classic which sees fuzzy guitars clash with meditative flutes, and the incredibly nuanced takes on modern fusion on “End Finity” and “Punkbomba”. Through these songs, it is clear that Jenifer has continued to evolve his craft as both a musician and songwriter, however, there are moments where the album feels less cohesive, and more a sonic collage of competing jazz muses. Case in point being the punk assault of “Rock Love” a punk banger that, despite its volatility and a fusion inspired B-section, has no business being on a record like The Weather Channel.

The Weather Channel feels entirely connected to the sounds and cultural legacy of Bad Brains. On the surface, the low-fi lounge jazz of Jenifer’s latest body of work may seem like it has nothing to do with the pioneering hardcore outfit, but to assume this is to have missed the versatility at the core of Bad Brains and, as an extension, Jenifer’s songwriting. In actuality, it is not surprising that Jenifer has taken what may seem like such a radical turn when, in fact, it only further demonstrates how steeped the Bad Brains legacy is in black culture. As it stands, The Weather Channel is a soulful collection of work that is as grounded as it is experimental and should leave listeners eager for more from Jenifer.

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