BENJAMIN CROFT - Far And Distant Things
Ubuntu Music – UBU0082
Benjamin Croft - keyboards; Andy Davies - trumpet; Gareth Lockrane - flute; Henry Thomas, Flo Moore - bass;
Tristan Mailliot and Laurie Lowe -drums; Helen Vollam - trombone; Carter Arrington - guitar
With:
Randy Brecker, Allen Vizzutti - trumpet; Frank Gambale, Barry Finnerty, Mike Miller - guitar; Chad Wackerman - drums
Croft’s 2019 release, 10 Reasons To…., was a gloriously eccentric confection of unabashed prog and fusion interspersed with spoken word references to a host of UK cultural touchpoints from Dylan Thomas to Dr Who. Stylistically it harked back to the high-octane supercharged studio sound of the late 70s and early 80s, when the intersection of advances in music tech and busy, highly-paid studio schedules created an elite of session superheroes who in turn created some very accomplished, delightfully over the top fusion records. For this next instalment Croft went straight to the source and approached some of his personal transatlantic heroes in the genre to participate: the fact that all of them agreed indicates an acknowledgement that Croft himself certainly belongs in this exalted company. The eleven original compositions here provide ample opportunity for everyone to shine, and part of the fun is in guessing who plays what - the impossible drum breaks in ‘Tudor Job Agency’ can surely only be by Wackerman, sweep-picking maestro Gambale must have contributed to the superbly bombastic title track and ’S&R Video’ sure sounds like Brecker’s clear tone and crisp attack. However the contributions from the Brit contingent are so uniformly excellent that it’s sometimes hard to tell. Henry Thomas on bass has some particularly compelling solo contributions (or is Flo Moore responsible for some?), and Gareth Lockrane tears it up on ‘Brock 1644’. Croft himself makes full use of the entire range of keyboards ancient and modern at his disposal: ‘Thank You, That’s What I Wanted’ is the nearest thing to an introverted moment: in general it’s an epically scaled, all guns blazing affair, but carried off with such aplomb, coupled with an all-important sense of good-natured humour, that makes for a hugely enjoyable ride.
Reviewed by Eddie Myer
Ubuntu Music – UBU0082
Benjamin Croft - keyboards; Andy Davies - trumpet; Gareth Lockrane - flute; Henry Thomas, Flo Moore - bass;
Tristan Mailliot and Laurie Lowe -drums; Helen Vollam - trombone; Carter Arrington - guitar
With:
Randy Brecker, Allen Vizzutti - trumpet; Frank Gambale, Barry Finnerty, Mike Miller - guitar; Chad Wackerman - drums
Croft’s 2019 release, 10 Reasons To…., was a gloriously eccentric confection of unabashed prog and fusion interspersed with spoken word references to a host of UK cultural touchpoints from Dylan Thomas to Dr Who. Stylistically it harked back to the high-octane supercharged studio sound of the late 70s and early 80s, when the intersection of advances in music tech and busy, highly-paid studio schedules created an elite of session superheroes who in turn created some very accomplished, delightfully over the top fusion records. For this next instalment Croft went straight to the source and approached some of his personal transatlantic heroes in the genre to participate: the fact that all of them agreed indicates an acknowledgement that Croft himself certainly belongs in this exalted company. The eleven original compositions here provide ample opportunity for everyone to shine, and part of the fun is in guessing who plays what - the impossible drum breaks in ‘Tudor Job Agency’ can surely only be by Wackerman, sweep-picking maestro Gambale must have contributed to the superbly bombastic title track and ’S&R Video’ sure sounds like Brecker’s clear tone and crisp attack. However the contributions from the Brit contingent are so uniformly excellent that it’s sometimes hard to tell. Henry Thomas on bass has some particularly compelling solo contributions (or is Flo Moore responsible for some?), and Gareth Lockrane tears it up on ‘Brock 1644’. Croft himself makes full use of the entire range of keyboards ancient and modern at his disposal: ‘Thank You, That’s What I Wanted’ is the nearest thing to an introverted moment: in general it’s an epically scaled, all guns blazing affair, but carried off with such aplomb, coupled with an all-important sense of good-natured humour, that makes for a hugely enjoyable ride.
Reviewed by Eddie Myer
