Lakecia Benjamin, who has been making quite an impression with her band for several years now, recently released her new album ‘We Dream’. To promote it, the saxophonist put on an energetic show at Rotterdam’s LantarenVenster on 20 June. Acoustic Jazz in the spirit of John and Alice Coltrane, uplifting gospel, Latin rhythms and electric funk alternated at a rapid pace. The bandleader spurred the introverted audience at the sold-out concert on to show more enthusiasm: ‘You’re the quietest audience I’ve ever had.’ She was willing to answer a few questions.
You can find audio and video footage on my YouTube channel:
During your performance, you said that we need more women in jazz. Does a band made up entirely of women sound different from a group of male musicians?
No, I don’t think so.
Female musicians seem to be a bit more supportive of one another, whereas men tend to view soloing as more of a competition.
I know plenty of women who are highly competitive. You might as well ask me whether female doctors work differently from their male colleagues.
A few years ago, drummer and bandleader Terri Lyne Carrington published the music book ‘New Standards: 101 Lead Sheets by Women Composers’, which also features some of your music. Do you think that was a successful initiative?
It was a good idea of hers. Especially as the work of female composers is often hard to come by. In this way, she’s raising public awareness of the existence of all those beautiful pieces.
The trumpeters Chief Adjuah and Terence Blanchard feature on your new album. They believe we should replace the term ‘jazz’ with another word because of its condescending, racist undertones. What’s your view on that?
The whole world is racist. Why on earth should we change the name of the very music we love most? Hip-hop is also a derogatory term – you could go on and on like that.
Do you regard the word ‘jazz’ as a badge of honour?
Jazz is an important genre that, sadly, is still underestimated. Jon Batiste, a jazz musician, has won eight Grammy Awards, including one for Best Album (‘We Are’, 2021). Robert Glasper has also won five Grammys. If you were to describe their music simply as ‘Black’, you’d no longer be able to distinguish between, say, Black hip-hop and Black jazz. Those genres share the same roots but are also distinct. I think we should actually be drawing more attention to jazz to prevent people from forgetting just how good that music is.
In what way does Alice Coltrane (1937–2007) inspire you?
Her music is spiritual, inclusive and transcends genres. Technically, she was highly skilled. When you delve into her music, you’re struck by its richness. The way she approached being a musician is an example of how I’d like to be myself. Good musicians are always curious and incorporate the many influences they encounter into their work.
What influence did Alice Coltrane have on her husband John (1926–1967)?
I sometimes try to imagine what it must have been like when she began experimenting with the organ and harp in a jazz band. If you listen to how John Coltrane played towards the end of his life, you can hear many similarities with Alice’s music. They were following the same path.
Could you give a rough idea of what John Coltrane’s music means to you?
John Coltrane showed that even the very best musician can never stop improving. He also sought to grow as a person. No matter how good your technique is, you play the way you are.
If more people listened to jazz, would we have a better world?
I certainly believe so.
What does spirituality mean to you?
It means gaining a clear picture of my destiny. I believe I’ve been given a talent and that my life has a purpose. You could call it a calling.
Can you describe that purpose?
I wish I knew. The only thing I know for certain is that I have to travel the world to get people excited about my music.
Do you enjoy that as well?
Absolutely! For example, I really enjoy seeing how people in the Netherlands live, what they eat and drink, how they cycle and how they meet up in the park. Or what it’s like to stay in China without my perspective being shaped by state propaganda. That aspect of travelling is lovely. Sometimes it’s tough, too. I often spend seven hours on a plane, sometimes as many as fourteen. And you don’t get to reach nearly all the people you’d like to reach.
If you had to choose between composing, recording or performing?
That’s a difficult question. I think, ultimately, I live and die for the stage.
The cover of your new album has turned out to be a real work of art!
I’m a team player. I trust my photographers and the people involved in the design. For me, the cover is just as important as the music. An album is a reflection of your work at that moment.
You’ve put together a fantastic band. Could you tell us what you appreciate about each of them?
Pianist Oscar Perez, like me, has a Latin American background. He understands Latin music just as well as he does jazz. He’s very versatile; he gives his all to every track and his enthusiasm is infectious.
As the youngest member of the band, Jonathan Barber brings a lot of energy to the group. He makes sure we never lose momentum. As a drummer, he’s incredibly versatile. I also like the fact that he pays attention to how he dresses; he’s developed a style all of his own in that respect.
Bassist Elias Bailey is rooted in tradition. He keeps us all on our toes.
It was great that you rounded off your concert with a couple of lively, funky tracks.
The new album is also funkier than the last one. We’re still looking for the ideal moment to play that music. We don’t want to put the audience off too much.
Is the album title ‘We Dream’ a reference to Dr Martin Luther King’s ‘I Have a Dream’?
That’s an interesting thought, though that wasn’t my intention. What I mean is that, as human beings, we isolate ourselves too much. We’re engaging in fewer and fewer collective activities, and we also seem to care less about one another. We get caught up in questions like: is America better than France? Or: is Germany better than Japan? We should think more collectively. Only by working together and forming a community can we, as humanity, continue to survive.
You wrote an impressive piece on the back cover of your album.
“May we as one humanity choose to live without fear and lay down the heavy burdens of hatred that divide us, remembering that we share one fragile, beautiful planet and one collective future.
May our hearts be filled with joy that celebrates our differences, love that reaches beyond borders, hope that endures even in the darkest moments, and freedom that honours the dignity of every soul.
In embracing these values together, we can protect the only home we have and create a world where compassion guides our actions and peace becomes not just a dream, but a daily way of living.
LB”
Do you regard this as your personal credo?
You’re the first journalist to bring this up. It’s my personal message, my plea. We have to make it work together.
Halfway through the show, you played a subdued yet powerful composition by Billy Taylor: ‘I Wish I Knew How It Feels To Be Free.’ What does that tune mean to you?
The composer taught it to me himself during a workshop. This song makes me think about what the world would be like if everyone were free. If we could live without fear, worry, hatred and oppression. It’s a vulnerable, intimate interlude in a show that’s otherwise quite intense. The melody has a spiritual quality. When I hear this song, I think back to when I was twelve and used to get angry about the inequality in the world. A message of hope resonates in the music, which is deeply rooted in gospel.
Lakecia Benjamin – We Dream (Pias)
Pictures: Ron Beenen
