Flight of an Alto Saxophonic Phoenix

Widely Acclaimed Lakecia Benjamin Returns to Campbell Hall, as Leader

Lakecia Benjamin performed at Campbell Hall on February 7. | Photo: Courtesy

Lakecia Benjamin is primed and ready for her close-up on the jazz scene. Rightful kudos, a handful of Grammy nominations, and other signs of acclaim have greeted the gifted alto saxophonist, who makes her eagerly awaited Santa Barbara debut as a leader at Campbell Hall on Friday, February 7, presented by UCSB Arts & Lectures.

The sartorially colorful Benjamin deftly blends deep jazz roots with contemporary ideas and occasional spoken word elements. Her three albums in the past five years — Pursuance: The Coltranes, Phoenix, and Phoenix (Live) — landed at a time when the jazz world was finally opening its arms more to women artists. We touched base with Benjamin, articulate with both music and self-expression, in advance of her Santa Barbara show.

You played here with the Monterey Jazz Festival on Tour band two years back, but this will be your debut with your band Phoenix. Is touring and live playing vital to your expression — and evolution — as a musician?

Absolutely. Touring and live playing are essential to my growth and evolution as a musician. Each performance is a unique dialog between my band, the audience, and the energy of the moment. Playing live allows me to connect deeply with listeners, and that connection feeds my creativity in ways that no studio session ever could.

When I performed in Santa Barbara with the Monterey Jazz Festival on Tour band, it was an incredible experience to share the stage with such phenomenal musicians and to feel the audience’s warmth. Now, coming back with my own band, Phoenix, is particularly special because it represents a new chapter of my artistry.

Touring also keeps me on my toes. Every city, every venue, and every audience brings something fresh, challenging me to push boundaries and stay authentic to the moment. It’s where ideas grow, and the music evolves organically. My band and I thrive on that synergy — it’s a vital part of our journey together.

You have been performing and on the scene for several years, but the last few have been fruitful for you in terms of getting a spotlight due, awards and growing exposure for your artistry. Does it feel that things are coming together in a way you had dreamed of as you coming up?

I never imagined being nominated for one Grammy, let alone five. It’s a surreal feeling and a true honor to see my work recognized in this way. These past few years have been a whirlwind of growth and incredible opportunities, from touring internationally to collaborating with artists I’ve admired for years.

As a musician, you dream of having your voice heard and connecting with audiences on a meaningful level, but the journey is often unpredictable. To see things coming together now feels both validating and humbling. That said, I feel like this is just the beginning. There’s so much more I want to explore and share through my music, and this momentum inspires me to keep pushing forward.

In your youth, were you pulled deeply into jazz by certain influences, or did you always have a hunger for music in a broader more eclectic sense? And has that musical diet changed for you over the years?

I was definitely drawn to jazz, but I think my love for music was always broader and more eclectic. Growing up in Washington Heights, I was surrounded by so many different sounds — salsa, hip-hop, R&B, soul — and those genres became part of my musical DNA just as much as jazz did. I was inspired by the freedom and creativity of jazz, but I also loved the raw energy of hip-hop and the emotional storytelling of the soul.

Early on, artists like John Coltrane, Charlie Parker, and Miles Davis pulled me into the jazz world, but at the same time, I couldn’t ignore the influence of icons like Stevie Wonder, James Brown, and Lauryn Hill. I’ve always been hungry to explore and merge those worlds, which is why my music blends elements of jazz, hip-hop, and soul.

Over the years, my musical diet has continued to evolve. I’m constantly discovering new sounds and finding inspiration in unexpected places. I still revisit the classics, but I also dive into contemporary artists and genres outside of my comfort zone. That curiosity is what keeps me growing as a musician and allows me to bring something fresh to my work.

As heard on your albums, and especially on your live album of last year, you strike a great balance between polarities — melodicism, structure, expanded grooves, improvisational abandon and other factors. Do you consciously seek out that idea of balanced combinations and variety, as composer, player and bandleader?

Thank you — that balance is definitely something I’m conscious of as a composer, player, and bandleader. I’ve always believed that music should be dynamic and multidimensional. Melodicism and structure provide a foundation, but it’s in the spaces where the groove expands and improvisation takes over that the music comes alive. Those moments of unpredictability are where the magic happens — not just for the band, but for the audience as well.

When I’m composing or arranging, I try to leave room for both clarity and freedom. I want the music to tell a story and have a strong emotional core, but I also want the players to have space to bring their voices to the table. As a bandleader, my role is to guide and set the tone while trusting the band to take the music to places I might not have imagined.

Variety is essential to me because it mirrors life — moments of intensity balanced by moments of quiet reflection. That ebb and flow keeps the music engaging, both for us as performers and for the audience. It’s about creating a journey that feels organic but also expansive, where anything can happen.

Your Phoenix albums and concept embraces multiple approaches and elements, including spoken word and electro-acoustic mixtures. It’s genre-defying while expressing a strong sense of artistic assurance. Is that openness and freedom to experiment a part of your overall concept?

Absolutely. Openness and freedom to experiment are at the core of how I approach making music and crafting projects. With Phoenix, I wanted to create something that felt expansive and boundary-breaking — a project that honored the traditions of jazz while boldly stepping into new territory. Incorporating spoken word, electro-acoustic elements, and collaborations with powerful women like Angela Davis and Sonia Sanchez felt natural because they added layers of storytelling and texture to the album.

For me, music is about connection and expression, and I don’t see any reason to limit that by staying within a single genre or style. Jazz, at its heart, has always been about evolution and pushing the envelope, and I see Phoenix as a continuation of that tradition.

Your music seems to have that quality of appealing to both devoted jazz listeners and curiosity seekers who might not be so deeply invested in jazz but are open to good music. Does that aspect of reaching out to a broader audience appeal to you?

Reaching a broader audience is something that deeply appeals to me. I’ve always believed that music should be inclusive and accessible — it’s a universal language that can connect people, regardless of their background or how deeply they’re rooted in a specific genre.

Jazz is such a rich and dynamic art form, but for some, it can feel intimidating or niche. My goal has always been to create music that honors the depth and traditions of jazz while presenting it in a way that’s relatable and engaging for everyone, whether they’re lifelong jazz devotees or just curious listeners looking for something fresh.

When I blend elements of hip-hop, soul, and even spoken word into my music, it’s not about diluting jazz but expanding its reach and showing how it can coexist with other styles. I love seeing audiences from all walks of life at my shows — those who came for the jazz and those who came for the groove or the storytelling. That diversity energizes me and reminds me why I do this. Music, at its best, should break down barriers and bring people together.

You have paid due tribute to the Coltranes — John and Alice — and actually featured Wayne Shorter’s literal voice — along with the implied impact of his musical voice — on your Phoenix album. Are there other particular voices from jazz history who you feel have really informed the development of your own musical voice?

John and Alice Coltrane, as well as Wayne Shorter, have been monumental influences on my journey as a musician. Their voices — both literal and musical — carry such depth, vision, and spirituality that they’ve become guiding lights for me. With Phoenix, it was an honor to not only pay tribute to their legacies but also to feature Wayne Shorter’s voice, which added a profound layer of authenticity and connection to the album.

Beyond the Coltranes and Wayne, there are so many other voices from jazz history who have shaped my musical identity. Charlie Parker’s fearless improvisation, Dexter Gordon’s storytelling through tone, and Ornette Coleman’s boundary-breaking spirit have all left an indelible mark. Then there’s Cannonball Adderley, whose energy and soulfulness really resonated with me as an alto saxophonist. I also draw a lot from vocalists like Billie Holiday, Nina Simone, and Sarah Vaughan, who taught me about phrasing and emotional depth. Their ability to convey so much with a single note has inspired me to approach my instrument like a voice.

What ties all of these artists together is their authenticity. They each brought something uniquely personal to the music, and that’s a lesson I carry with me every time I play. Their influence is less about mimicking their style and more about embracing the courage to develop and express my own voice.

I have heard you in Monterey in various settings, including as artist-in-residence in 2023. Do you like to have a flexible situation such as that, as a chance to demonstrate diverse contexts you play in?

Absolutely; I thrive in flexible situations like being an artist-in-residence because they allow me to showcase the full spectrum of what I do as a musician. The Monterey Jazz Festival has always been a special place for me, and being the artist-in-residence in 2023 was an incredible opportunity to step into different roles and contexts.

It’s exciting to go from leading my own band to collaborating with other artists or performing with an ensemble like the Monterey Jazz Festival All-Stars. Each setting brings its own challenges and rewards, and I see it as a chance to stretch myself creatively. I enjoy adapting to the moment — whether it’s exploring the intimacy of a duo, the power of a big band, or the energy of a full festival stage.

What’s most rewarding is how these different settings reveal new dimensions of the music. They push me to think differently about my approach and to connect with audiences in unique ways. Flexibility is such a key part of jazz, and I think these kinds of opportunities embody that spirit of openness and exploration.

You project a brand of positivity, as with the infectiously inspiring song “Mercy,” and also a taste for exploration in your work. Do you have a sense of mission through your music that you can articulate?

Thank you — that means a lot to me. Positivity and exploration are definitely at the heart of what I strive to convey through my music. With a song like “Mercy,” for example, the goal was to create something uplifting and inspiring, something that reminds people of the resilience and grace we all carry within us. I do feel a strong sense of mission through my music. For me, it’s about connection, empowerment, and healing.

Music has the power to transcend barriers, to uplift people in their darkest moments, and to inspire them to dream bigger. I want my music to be a space where people feel seen, heard, and understood — no matter who they are or where they come from. At the same time, I’m committed to honoring the tradition of jazz as a platform for exploration and innovation. I believe that pushing boundaries and staying open to new ideas is a way of keeping the music alive and relevant.

Ultimately, my mission is to create work that reflects the complexity and beauty of life, while offering a sense of hope and possibility.