Learning How To Fly Together: In Conversation With Lakecia Benjamin

Mahak Naddafi
6 minutes ago
5 min read

With six Grammy nominations to her name — including a 2026 Grammy Award nomination for Best Jazz Performance for “Noble Rise” — Lakecia Benjamin has firmly established herself as one of the most compelling voices in contemporary jazz. It comes to no surprise that her latest album, We Dream, succeeds in beautifully articulating a tale of collective transformation in the face of a bleak world that often seems intent on dividing community. Across a collection of tracks that move seamlessly between pure jazz and rich fusions of R&B, funk, and hip-hop, Benjamin guides listeners on an uplifting journey: showcasing both her artistic versatility and the depth of a career spanning decades as a saxophonist, composer, and bandleader. Having played the saxophone since elementary school while growing up in New York, her dedication to the instrument has led her to captivate the stage alongside legendary artists, including Stevie Wonder, Alicia Keys, Anita Baker, and many others.

Ahead of her upcoming international tour with her quartet, Benjamin sat down with us to provide insight into the creation of We Dream, the role of hope in today’s world, and the future of jazz in contemporary music.

Firstly, it’s interesting how the title of the album is “We Dream” rather than “I Dream." Do you consider collective dreaming to be more significant than personal dreaming, specifically in regard to the album?

Absolutely. The title was very intentional. We live in a world that often celebrates individual achievement, but I’ve learned throughout my life and career that none of us get anywhere alone. Every dream I’ve been able to realize has been supported by mentors, family, community, and people who believed in me before I fully believed in myself. We Dream is about recognizing our interconnectedness. It’s about understanding that when we dream together, we create the possibility for real transformation. This album is ultimately an invitation for people to imagine a future rooted in love, compassion, and collective growth.

What do you think was left unsaid in your previous album Phoenix that you felt compelled to expand on in We Dream?

Phoenix was deeply personal. It was about resilience, survival, healing, and rising through adversity. I needed to tell that story first. But after Phoenix, I found myself asking a bigger question: once you’ve survived, what comes next? We Dream is my answer to that question. It moves beyond personal transformation and explores how we heal and evolve as a community. It asks how we build a better world together. In many ways, Phoenix was about finding my own wings, and We Dream is about learning how to fly together.

Your first track, “First Light,” opens the album with powerful spoken poetry about your resilience and your strength. What was the intention behind leading with your voice before the saxophone as your introduction?

That was one of the most vulnerable decisions I’ve ever made as an artist. People know me as a saxophonist, but I wanted listeners to hear my actual voice before they heard my instrument. The message of We Dream is deeply personal and deeply human. By opening with spoken word, I wanted to establish a direct connection with the listener and invite them into the story. Before the sax playing, a lot of times people can misinterpret your intentions or the meaning behind an idea on sax. It's kind of bilingual; there's a language barrier. With words, there's no confusion at all.

One of the other tracks, “Flamekeeper,” is such a standout given how accelerated the rhythm is and its contributions from Hiromi and Chris Potter. What’s your creative process like when finding collaborators to work with on your own projects?

For me, collaboration always starts with spirit before music. Of course I admire the artistry of musicians like Hiromi and Chris Potter, but I’m equally interested in their willingness to be fearless, curious, and open. I never invite someone onto a project simply because they’re famous or technically brilliant. I invite people whose artistic values resonate with the message of the music. Once they’re involved, I try to create enough space for them to bring their full selves to the conversation. I wanted a really high-energy fun fusion song to bring the party to the record and show the dynamic energy we all perform with.

When you’re performing alongside other musicians — emerging and legendary — how do you balance their contributions whilst also maintaining your own independent artistic voice?

I’ve learned that leadership isn’t about controlling every moment. It’s about creating an environment where everyone can shine. When I perform with legendary musicians, my goal is always to listen deeply and respond authentically. Ironically, I’ve found that the more generous I am as a collaborator, the more clearly my own voice emerges. I also write my songs with my guests in mind. This way, their sounds and personalities fit in seamlessly. They don’t have to try hard to fit in; just be themselves.

Your last track, “New World,” ends the album with a hopeful serenade; what do you hope lingers on the mind of the listener as the music fades?

Hope. More than anything, I hope people leave the album feeling hopeful. We live in challenging times, and it’s easy to become overwhelmed by fear and division. I wanted "New World" to leave listeners with the feeling that another reality is possible. That we can choose compassion. That we can choose understanding. That we can continue dreaming even when the world gives us reasons not to. If someone finishes the album feeling inspired to bring a little more love into the world, then the music has done its job.

In previous interviews, you’ve name dropped jazz musicians who have been major inspirations to you, such as John Coltrane, but are there any artists outside of jazz who inspire your work?

Absolutely. My musical world has always been much bigger than jazz alone. Artists like Stevie Wonder, Prince, Aretha Franklin, Nina Simone, Nirvana, James Blake, Janet Jackson have all shaped the way I think about storytelling, emotion, and connection. I also draw inspiration from poets, activists, and spiritual leaders. Great art is great art, regardless of genre, and I think all of those influences find their way into my music.

As someone who has spent their career working with different generations of jazz musicians and seeing how the genre has transformed, how do you think it will evolve in the future?

I think jazz will continue doing what it has always done: evolve. Jazz has never been static. It’s a living, breathing art form that reflects the world around it. I’m excited by younger artists who are embracing tradition while also incorporating influences from hip-hop, R&B, electronic music, global music, and other forms of expression. The future of jazz isn’t about preserving it in a museum; it’s about allowing it to continue growing. As long as artists remain committed to honesty, creativity, and improvisation, jazz will remain one of the most powerful forms of expression we have.

Listen to Lakecia Benjamin's new album We Dream on Spotify, Apple Music, and YouTube. Stay up to date on upcoming concerts and gigs on her Instagram and Facebook.