As difficult a challenge it is for rising saxophonist/bandleader Lakecia Benjamin to match the brilliance of her tribute to John and Alice Coltrane, Pursuance: The Coltranes, Benjamin succeeds in a similar way, relying on highly recognizable guests, yet Georgia Anne Muldrow is the lone returnee from that massive effort. Phoenix, Benjamin’s fourth release, is arguable as massive in scope with a theme of female empowerment, delivered through her spiritual saxophone playing, smartly placed spoken word segments and key vocal tracks. It’s not coincidental that her co-producer, Terri Lyne Carrington, employed a similar strategy, albeit less reliant on spoken word, in her Grammy-nominated New Standards, Volume One.
Benjamin (alto saxophone, synths, vocals, sound design) fronts a completely new core band comprised of trumpeter Josh Evans, Victor Gould on keys, Orange Rodriguez on synths, drummer Enoch (EJ) Strickland, percussionist Nêgah Santos, and bassist Ivan Taylor. Trumpeter Wallace Roney Jr., Rhodes organist Anastassiya Petrova, and bassist Jahmal Nichols all join for one track each. Yet, the focus, in addition to Muldrow, rests on guests Dianne Reeves, Patrice Rushen, Sonia Sanchez, Angela Davis, and Wayne Shorter. Benjamin cites these individuals as having a profound influence on her and she developed the compositions they deliver with their specific skillset in mind.
“Amerikkan Skin,” with its unnecessary police sirens, featuring American political activist Angela Davis, opens the album. Fortunately, there is strong-spirited playing as Evans on trumpet is an ideal frontline partner for the equally fiery Benjamin in this lengthy, highly improvised opener. “New Mornings” is an instrumental piece inspired by the pandemic shut-in when Benjamin was looking to escape the monotony of similar days. Jamal Nichols joins on double bass. Benjamin’s initial melody bespeaks to melancholy and evolves into a lively series of solos and exchanges between the two horns with Gould comping heavily.
The title track “Phoenix” features Georgia Anne Muldrow on synths and vocals and begins a consecutive string of five pieces that feature guests. The concept of Phoenix rising is very evident here, symbolizing emerging to light from the darkness of the pandemic. Strickland’s insistent beats push Benjamin on her fierce solo, matched in intensity by Evans on trumpet. “Mercy” features vocalist Dianne Reeves in a change of pace, as she offers a soothing take with a message of kindness as pianist Gould glistens and Benjamin continually weaves in the uplifting melodic riff against a trio of strings. Pianist Patrice Rushen is effervescent in her solo on the joyous “Jubilation” which also features Benjamin with her best lyrical chops. The final two pieces in this sequence highlight poet Sonia Sanchez, the first which begins with the sound of a ringing phone (also annoying), is a haiku, Peace Is a Haiku Song, in essence, a plea for equality and the importance of human rights. Benjamin’s piece “Blast” continues much of Sanchez’s spoken words set to a rhythmic groove and the poignant trumpet of Wallace Roney, Jr. and soulful, R&B-like playing from the leader.
The rhythmically complex “Moods” offers more fiery turns from Benjamin and Evans while “Rebirth,” is a familial tribute to losses that builds from its initial somber mood to celebratory passages. Here, as well as on the link to her previous effort, “Trane” and on “Super Nova” Benjamin is the lone horn. As such we hear the emotive range of her playing from the fluid balladic to the turn-on-a-dime aggressive, fierce posture endemic to her spiritual jazz approach. “Super Nova,” incidentally the title of a Wayne Shorter album, has the jazz giant offering spoken words as an introduction to “Basquiat,” inspired by the neo-expressionist artist, an angular piece featuring the return of Evans on the front line for explosive free improvisational takes from both horns.
With her Coltrane tribute, we were impressed by Benjamin’s ability to channel that music beautifully and more than hold her own amidst the gathered jazz royalty. Here, she is even more clearly the star, and aside from a few minor sound effects missteps, the album stands just as tall because this is definitively Benjamin’s saxophone voice and her own personal statement. That she graces the cover of Downbeat this month speaks to its impact.
