In her rebellious early days, Lakecia Benjamin would ‘crash’ other musicians’ gigs – including Prince’s – with complete confidence in her own ability. She would force her way onto the stage and play her saxophone as if her life depended on it. That was probably even true to a certain extent. The fees were meagre, the cost of living high, and the jazz gig economy showed itself at its most gruelling: a session here, a live performance there, and a stint as a sideman. Too much to bear, yet not quite too little to live on – and not just in the proverbial sense.
We Dream
Twenty years on, Lakecia Benjamin has risen to the very top of the jazz world and has long since become the scene’s own glittering, dazzling star. She has, of course, performed in front of the President before – back when he was still called Obama – and has repeatedly and effortlessly shared the stage with a diverse line-up of hip-hop artists (Missy Elliott, Lil Wayne, Jay Z, The Roots), soul stars (Alicia Keys, Macy Gray, Stevie Wonder, who was an early supporter) and jazz luminaries (David Murray, Wayne Shorter).
She didn’t necessarily overcome obstacles – big and small – with ease, but she did so with steadfast tenacity and determination. Kids from New York – what can one say? To this day, her ambitions outweigh the setbacks. Following a serious car accident in 2021, which shattered her jaw and put her career in serious jeopardy, she soon rose like a phoenix from the ashes, as the title of the album released less than two years later suggests.
The dream as a moment of emancipation
Albums, performances with legends, meeting the President or Prince – these were things Lakecia Benjamin could only dream of as a child growing up in Washington Heights. Washington Heights is home to New York’s Dominican community. Musically, everything revolved around merengue. It was only at secondary school that the foundations were laid for her to become one of the most distinctive jazz saxophonists of the new millennium.
She had to acquire the necessary knowledge and – like so many before her – turned to John Coltrane’s catalogue. It was not only the music that captivated her, nor just the sheer volume of innovations that Coltrane had introduced. Equally inspiring was his general attitude towards his own work, which John, together with his second wife Alice Coltrane, repeatedly placed within the context of history and the great cycle of the earth. However, it was not merely a matter of honour, but a profound tribute to the work and lives of both Coltranes when Benjamin paid equal homage to the saxophonist and the harpist on the album The Coltranes.
The title is We Dream and is not only a tribute to Martin Luther King, but also poses a radical question: How do we want to live?
It is easy to spot the connections to Coltrane: the relentless playing expressed in the ‘sheets of sound’, the vast swathes of sound that are blown through the pieces like rapids; the conviction that one’s own music can make the world a better place, and the historical awareness that keeps the great struggles for Black emancipation in mind.
All of this is also what sets Lakecia Benjamin’s music apart. Politically, this music makes its mark through its affirmation of Black history and excellence. On the aforementioned album Phoenix, Patrice Rushen, Georgia Anne Mudrow, saxophone legend Wayne Shorter and the writer and civil rights icon Angela Davies all made guest appearances. It is as if Benjamin were saying: Look at what WE have created. The ‘we’ also features prominently on her latest album. The title is We Dream and is not only a tribute to Martin Luther King, but also poses a radical question: How do we (African-American people) want to live? What do we dream of? She attempts to provide the answer herself – with her saxophone and with enthusiasm. Jump onto the stage, grab the spotlight!
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