The title of Benjamin Croft’s third solo album, We Are Here To Help, can be readily applied to the stellar cast of musicians, and technicians, who answered Croft‘s call to participate in this top-grade fusion of prog jazz. It’s a roll call of major talent that will be the envy of many. However, Croft offers up his explanations: “Well, it’s good and bad. It’s my take on the music industry. When I hear that phrase, it’s usually motivated by money and greed but it’s also about music being a healing process as well.” Recorded between March and December 2022, at four studios, the eight finished compositions encapsulate Croft’s passion for progressive music which grew from a chance mid-teenage moment: “I was about 16 or 17 and it was a Friday night when I used to try to sneak into pubs and get served and often get refused,” he smirks recalling a circumstance most have experienced. “There was one Friday night where I came back home, with my tail between my legs from not being served, and there was a TV show called Home Truths, presented by Steve Wright, and on that show was Rick Wakeman.” he beams at the memory. “This is the 90s when we didn’t hear a lot of progressive rock as it was pre-internet. I said to my mum, ‘Who is this person?’, he was really interesting as there were clips of him surrounded by the keyboards. She said, ‘He used to play in a band called Yes’ and she gave me a copy of Close To The Edge and that was it for me. That was the eye opener that changed my life, the title track especially. Of course, that led me to other bands like ELP, King Crimson and Genesis and so forth…”
With stellar contributions by luminary musicians such as Marco Minneman, Jeff Scott Soto – “I was quite upset when I found out that Sons Of Apollo is no more” – Billy Sheehan, Mike Stern – “I’d worked with Randy Brecker and Randy and Mike worked together a lot” – Simon Phillips, Dave Marks, Frank Gambale and more…it’s mind boggling as to how this Crouch End, London based musician wrangled in all of these in demand international players to contribute their special gifts to these eight sumptuous tracks. Croft ponders for a few seconds…: “I was very much writing for the musicians that I was playing with, and I was making a lot of compromises because they were mostly jazz musicians. So, during the lockdown, I was basically listening to Rock, Metal and Prog and I decided I wanted to do that which originally influenced me. I needed to write in this style and approach the musicians that inspired me initially,” he affirms. “I basically asked for numbers, asked for contacts or tried to find emails. I find if you’ve got one player, the other player then says, ‘Oh, I really liked that player and I loved playing with that’. So, I started to pair people and then you can build the roster of musicians from there.” He adds: “Also, as a fan of the UK and Bruford albums, when it came to the mixing, the person who mixed this album, and my last two albums is Stephen W. Taylor who worked on the UK and Bruford albums. I needed someone on board that really understood where I was coming from.”
Recorded in a choice of London and Brighton studios, one of which is the famous Church Studios in Crouch End: “It’s about 10 minutes’ walk from my house. I’ve recorded two albums there now and it houses my favourite piano. The Steinway there is just unbelievable, and I love the natural ambience of the room,” he tells me. “Plus, it’s got a huge selection of analogue keyboards.” Analogue seems to be a particular passion of this back to the future artist as he reveals more: “I don’t use any plugins for the keyboards. Every keyboard instrument you hear, and it’s about 15 or 16, including the original mini moogs…I don’t just want it to sound like a 70’s recording as it’s a bit of both. However, I’ve played the reissues of these instruments in a set up and compared them back-to-back and the reissues still don’t have the same sonic qualities and quirky edge.”
When not ensconced in a studio with his wizardly array of vintage and modern instrumentation, Benjamin can be found gigging in various jazz set-ups and is a member of the Progressive Rock outfit The Gift who are currently recording an album. Furthermore, his love of Kate Bush’s music and voice led him to a gifted lady vocalist Lynsey Ward, who he found on the internet, who delivers her ethereal vocals on Caught In The Flypaper and Wrestling With Plato tracks. It’s a ripe mixture of happenstance and being in the know that created this extra fine artistic vision into sound. The cover and interior artwork by Hugh Syme also have a special significance for Croft: “I’m a huge fan of Rush…”
As much an instruction manual for budding progressive jazz/fusion musicians as it is a huge reward upon repeat playing, We Are Here To Help is a Croft original worth savouring.
Interview by Paul Davies
Photo Credit: Delphine Orliange