This
marvellous, boundary-blurring collection shows that progressive rock from its 1970s
heyday and jazz rock from around the same time were twins, separated at birth
with nary enough space between them to slide a Rizla. There is an obvious debt
to Return To Forever (Chick Corea is thanked in the liner notes for
inspiration) but classic Yes, the less absurd music by ELP and Todd Rundgren’s Utopia are also obvious touchstones. The
choice is, therefore, between calling the Jazz Police or sitting back and
enjoying what’s on offer.
The
Jazz Police would probably cite the list of keyboards used as evidence for the
prosecution. The liner notes list 17 different ones including some familiar
names such as Steinway and Yamaha pianos and the Hammond B3 organ. For the rest
of the list I’m on less familiar ground. Whilst the keys are the dominant
sound, (it is Croft’s album, after all) he frequently steps back and lets
others in the band and his guests take the lead. The guitar cuts through where
it should and the brass, which might sound out of place in front of all the
electronics, doesn’t. Track 4, SAD
(Spatial Awareness Disease) exemplifies this as Croft’s synthesiser
squelches and meteorological swirls give way to heraldic brass from Vizzutti
and Vollam.
This
ability to turn on a sixpence is what gives this album its freshness and
originality. Some of the melodies seem
straightforward and accessible but that is just to suck you in as changes in
key and instrumentation take you in a direction you couldn’t have predicted. Tudor Job Agency, for example, builds from a simple melody,
reminiscent of Hill Street Blues,
into something more complex with Finnerty’s guitar sharing solos with Moore’s
bass over Laurie Lowe’s increasingly complex drum fills.
Benjamin
Croft has played the cruise ships and backed artists as various as Belinda
Carlisle, Lesley Garrett and the Temptations and has performed in the pit for
Straight from the Heart in the West End, as well as working on The Voice and
Britain’s Got Talent. This album is a complete volte-face from those experiences
and an opportunity for Croft’s own compositions and his musicianship to take
centre stage. He shows the debt to his influences but is more than the sum of
them. The highly esteemed Edward Kennedy Ellington is quoted as saying,
“There’s only two types of music, good and bad.” Far and Distant Things is amongst the good stuff.
Far and Distant Things is released this Friday, August 6 and there is more information about Croft and his album on his website which is at Benjamin Croft (benjamincroftmusic.com) Dave Sayer
Benjamin Croft (keyboards) + (collective): Allen Vizzutti, Randy Brecker, Mike Miller Andy Davies, (trumpet); Helen Vollam (trombone); Gareth Lockrane (flute, piccolo); Henry Thomas, Flo Moore (bass guitar); Tristan Maillot, Chad Wackerman, Laurie Lowe (drums); Frank Gambale, Barry Finnerty, Carter Arrington (guitar).
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