Dwain

• Phoenix is a pleasant reminder that Jazz today has not fully dissociated with its past and the greats before. Lakecia leaves us with a true impression of herself and her music in this mature and thoughtful recording. Benjamin has a story to tell in this album and tells it in a way that is so spiritually connected. Her playing is truly captivating and she has a truly unique ability to reach deep into her soul in a way that is reminiscent of greats such as Coltrane, Garrett, and Rollins. There are many great guest appearances and even some guest monologues that keep things fresh and unique.

• Each track on the album is unique and has a lot to offer from the scene-setting, social justice forward opener “Amerikkkan Skin” to soulful hard hitting tunes such as “Trane” and many in between. Patrice Rushen’s appearance on her own tune “Jubilation” stands out to me amongst the guest appearances on the album.

• Lakecia impresses in many ways on Phoenix. The compositions are unique and interesting. Her playing is refreshingly connected and soulful in a modern landscape that seems to sometimes prefer the more light and reserved saxophone sound. This is a coming of age album for Lakecia Benjamin and an early contender for Jazz Album of the Year.

Overall score: 8.5/10

Max

• Lakecia Benjamin is a refreshing presence on the scene today. Her latest release Phoenix is a musical journey that provides us a glimpse into her influences, mind, and musicianship. Lakecia has an incredible ability to grasp attention at the sound of her alto. Everything she expresses is impactful and purposeful. Much of the music here packs a seriously captivating punch. Lakecia is accompanied by an array of both well-seasoned and up-and-coming stars. Terri Lyne Carrington produces this album, recreating many concepts and approaches expressed through her own Grammy-winning album New Standards, Vol. 1. This is evident from the tinge of social justice included in the first track, “Amerikkan Skin,” as well as other signs of that sentiment sprinkled in a few other numbers. The inclusion of many guest artists is another similarity between the two records. On Phoenix, we get a varied cast that express a mix of artistic output in addition to instrumental music, including poetry-reading, vocalizations, and spoken-word. It is a bright spot to see legendary saxophonist Wayne Shorter (who just passed not too long ago) providing spoken-word on “Supernova” (even though I think the track sounds incomplete). Dianne Reeves delivers great vocals on “Mercy,” while Georgia Ann Muldrow creates tasteful and interesting keyboard accompaniment on “Phoenix.” Patrice Rushen is also included here, playing piano on her own composition entitled “Jubilation.” Sonia Sanchez provides powerful poetry on “Peace is a Haiku Song,” and “Blast.”

• Speaking of “Blast:” I think Lakecia’s innate musicality is in particularly grand form on this song. She takes us on a soulful and spiritual roller coaster. I think minute marker 2:19-4:00 is a masterpiece. Lakecia says more in this solo than some artists will say in a lifetime. Other tunes like “New Mornings,” “Moods,” and “Rebirth” also feature superb solo improvisation while also proving to illustrate Lakecia as a fine composer. I wish trumpeter Josh Evans gave us more confidence on his melody during the head on “Moods.” Unfortunately, he’s not really matching Lakecia’s energy, yet, he does deliver more spot-on playing as the track continues. Drummer EJ Strickland is also featured well on that tune. His solo is a nice touch that works to build the song’s energy, driving its journey. On another note, both “Jubilation” and “Trane” are superb tracks. Patrice Rushen’s melody on “Jubilation” is a masterclass in melodic creation, while “Trane” provides yet another ode to the Coltrane’s from Lakecia Benjamin. It is fairly clear from her previous releases, in addition to her current approach and technique, that both John and Alice Coltrane are present in her sound. The tune “Basquiat” delivers a ‘more-fun Ornette Coleman-esque vibe.’ While it is certainly a form of free-jazz, we get interesting, wide-ranging ideas from Lakecia accompanied with a walking bass and swingin’ rhythm section. The inclusion of a free-jazz number to conclude an album seems to be the practice these days (despite the fact that I’m getting tired of it already).

• Lakecia Benjamin is in fine form on her latest release as a leader. It is clear she cares about the music. Her experience and musicality are undeniable as she seems to lay it all out on the table. Her music has groove, swing, inventiveness, development, substance, and purpose. She is beyond a treat to listen to, and I’m looking forward to seeing where she goes from here.

Overall score: 8.4/10