+Terence Blanchard, Chief Xian aTunde
Adjuah (trumpets); Chris Potter (tenor sax); Jeff “Tain”
Watts (drums); Hiromi (piano); Bilal, Tiaranna “Tank”
Ball (vocals); Kassa Overall (drums, producer)
After a subdued opening,
during which she reads one of her poems, much of this album comes tearing out
of the speakers with Benjamin’s, now customary, fire and fury. Despite the
addition of several high profile guest stars this still feels like a stripped
down collection of Coltrane inspired blowing that burns with the message that
Lakecia Benjamin is still loud, still defiant and still righteously pissed off
at the state of the world.
It’s always a worry when hitherto uncompromising jazz artists invite guest stars onto an album for one or two tracks but the invitees on this album are fine additions to the main band. They include trumpeters Terence Blanchard, and Chief Xian aTunde Adjuah, Chris Potter on tenor sax, Jeff “Tain” Watts on drums and drummer and producer Kassa Overall, all of whom add to, rather than detract from, the quality on show.
That opening poem is a
reference back to her two Phoenix albums
as she intones “Out of the ashes I rise, Not as a broken thing… But as Fire….I
choose power, I choose the rules…” over a haunting trumpet. Then, with a
crashing of Tyner-esque piano chords, wailing alto sax and explosive drumming
we are back with Lakecia proper on a rampage through Beyond the Dawn, frenetic clusters of notes are spat out and it’s
just a matter of hanging on until some relief arrives when the slower main
melody returns and Blanchard eases us into his fiery solo, still soaring. Next
piece, My Only, is more accessible,
led by a duet for sax and Sean Jones’ trumpet, with a more regular, rolling
rhythm but Jones solo adds fire before Hayama’s piano asks all sorts of angular
questions and Benjamin storms in, all splenetic fury.
Mi
Gente seems designed to tease us with its gentle, almost
pastoral opening before those crashing piano chords roll in and aTunde Adjuah,
Vonner and Benjamin form a frontline wall of sound, trumpets piercing the
firmament. Ascension (not that one) opens
with a rap “They say that pressure makes diamonds, But they don’t talk about
the cracking, The sound of sanity splintering” before Benjamin’s sax spirals up
and away, the lead voice in a heavyweight sound, drums like timber falling and
a bass that punches solidly. A lot of the overall impact of this album is down
to the recording and mixing. Despite the guests, it remains small group jazz and
the mix leaves space between all of the instruments as they move across the
listener’s focus. Dream Brother takes
us through some vibrant sax and trumpet blowing as Benjamin, Jones and Chris
Potter intertwine lines before Potter takes the spotlight. Despite all of this
front line effort, it’s the foundation of Perez on the piano that shines,
holding it all together; Watts is full on and loud on the drums. It’s all
overwhelming as the solo spot is snatched, not passed, and everyone is vying
for the spotlight. A deep hip hop groove opens the title track which features a
rapid fire rap and rich, soulful singing from Ball. Benjamin floats ethereal
sax lines close behind her. It’s positive and life-affirming and the hope in
the voices add to its strength.
Hiromi and Potter both
feature on the uptown funk snap of Flame
Keeper which opens with all angles explored before it settles down to
something approaching mellow before some more furious blowing from Benjamin,
punching her full weight across the full range of the alto. Hiromi chips in
with a solo, full of frills and excursions anchored by a firm left hand and
provides further jabs, prompts and encouragement before her solo builds up and
out again; Jonathan Barber on drums covers every inch of the kit behind her. A
brief, loping, relaxed piece of funk, Hiromi
Jam, allows Potter and Hiromi to shine for two minutes before the
widescreen layers of Right Now. Rob
provides piano, organ and synth to create a wash behind Kassa Overall’s rap;
Benjamin’s squeals and cries are backed by some squelchy 70’s keys, Nichols
bass probes and pushes. Closer, New World
carries the optimism of its title into the music, which is relaxed and
hopeful, affirming and all enveloping, a contender for song of the summer.
Benjamin’s sax is full voiced; longer notes and less firepower than previous
add to the optimism and the faith.
Benjamin seems to be exploring new voices on this album, both in terms of her guests but also in the range of melodic styles on offer. Having said that, hers remains a dominating voice, full of energy and power. She shows a hopeful, compassionate side at times on this album but shows no signs of stepping back from the defiance that has fuelled her career so far. This is another strong album from her and another powerful statement. Dave Sayer
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