Benjamin
Croft é um renomado compositor e pianista britânico, sendo amplamente
reconhecido por seu talento excepcional no jazz. Por meio de sua habilidade
única, também possui a capacidade de integrar diversos estilos musicais em suas
composições, algo que inclusive tem sido um diferencial que o destaca no
cenário musical contemporâneo. Funk, rock progressivo e música clássica também
costumam fazer parte da paleta de sons em sua música, tornando um trabalho
cativante e feito para ouvinte que gostam de desfrutar de composições
intrincadas e bem estruturadas.
Desde
muito cedo desenvolveu um grande amor pela música, sendo o piano o instrumento
que ele escolheu para começar na sua jornada. Seus primeiros conhecimentos e
onde ele aprofundou o seu conhecimento tanto pela música clássica quanto pelo
jazz foi na Leeds College of Music. Mais futuramente, aprimorou ainda mais as
suas habilidades ao ingressas na prestigiada Berklee College of Music, além de
ficar mais íntimo da música contemporânea.
En We
Are Here to Help, seu mais novo disco, Croft alterna entre faixas instrumentais e
vocais – sendo quaro de cada -, criando uma experiência auditiva rica e
dinâmica. Jeff Scott Soto e Lynsey Ward são as vozes do disco, enquanto que os
músicos convidados incluem nomes de peso como os guitarristas Greg Howe, Mike
Stern e Frank Gambale, os baixistas Billy Sheehan, Dave Marks e Floo Moore,
além dos bateristas Simon Phillips e Marco Minnemann. Cada faixa é muito bem elaborada, mostrando a habilidade técnica e a sensibilidade artística
de Croft e convidados.
"We
Are Here to Help" mantém a energia deixada pela faixa anterior,
mas agora, com Jeff Scott Soto introduzindo os primeiros vocais no disco. Traz
um forte e muito bom som de rock de arena, mas mantendo elementos progressivos.
Destaca como uma importante música do álbum, mostrando a versatilidade de Croft
e sua capacidade de criar peças que são ao mesmo tempo acessíveis e
sofisticadas. A seção rítmica é robusta e sustenta a música, contribuindo para o
seu impacto geral, enquanto guitarra e teclados revezam no protagonismo por meio
de excelentes invertidas.
Y"ou Made Me Miss"é um fusion que logo no seu início mostra suas credencias de um número vibrante e envolvente. Ouvintes familiarizados com o primeiro disco da UK provavelmente irão perceber alguns acenos aqui ao grupo inglês de rock progressivo. Repleta de dinamismo e criatividade com toda a banda mostrando uma habilidade impressionante em criar contrastes emocionantes e inesperados, a peça entrega até mesmo um momento influenciado pelo reggae durante um trecho de desaceleração. Esse é o tipo de música que pode ser definida como tecnicamente cativante. "Caught in the Flypaper"traz os vocais de Lynsey Ward pela primeira vez. Oferece um som mais puro de rock progressivo, ressoando com a essência dos grandes nomes do gênero. A voz de Ward é incrível para ocasião, oferecendo muita profundidade e emoção que complementam perfeitamente a complexidade da música. Também há uma passagem instrumental que é feroz e metálica, caracterizado por solos de teclado que adicionam uma camada aditiva de intensidade e virtuosismo.
Same Siders, o metal e o fusion se abraçam com certa clareza desde o começo. É uma jam instrumental impressionante e que combina uma variedade de sons de maneira harmoniosa e cativante. A combinação de todos os seus elementos resulta em uma faixa que não só é impressionante em sua execução técnica, mas também oferece uma experiência musical exuberante e memorável com a capacidade de ressoar em uma ampla gama de ouvintes. "Wrestling with Plato" traz uma mistura de rock progressivo e fusion resultando em uma peça rica e multifacetada. Novamente Lynsey assume os vocais e entrega um trabalho brilhante. É marcada por várias e ótimas mudanças. Um dos aspectos mais cativantes da faixa se encontra no seu solo de sintetizador que adiciona lindamente uma camada de virtuosismo e musicalidade. Por meio de uma grande habilidade em equilibrar o rock progressivo – presente com mais ênfase – e o fusion – por meio de inversões elegantes -, certamente é um dos destaques do disco.
"Lower Moat Manor" começa de maneira suave e atmosférica, estabelecendo uma aura calma e introspectiva, porém, essa tranquilidade inicial é rapidamente substituída por mais um fusion cheio de vigor. A faixa navega habilmente entre passagens melódicas e momentos de intensa complexidade técnica, garantindo o resultado de uma peça que é ao mesmo tempo diversificada e unificada, além de emocionalmente envolvente e tecnicamente impressionante. "She Flies Softly On" é a peça de encerramento e que consta novamente com Jeff Scott Soto nos vocais. Um momento que traz para o disco uma balada poderosa e progressiva, destacando-se por suas seções que se elevam a partes robustas e emocionantes. A composição está repleta de emoção, drama e estilo, além de entregar um refrão vigoroso. É construída de uma maneira que consegue transportar o ouvinte por uma bela jornada musical, enquanto passa por altos e baixos emocionais.
Benjamin Croft acerta em cheio em En We Are Here to Help, sua habilidade não só como músico, mas também como um maestro que sabe reunir e tirar o melhor de grandes talentos, não deixando que as músicas se transformem em meros “duelos” sem propósito. Croft se destaca ao utilizar com maestria tanto o Hammond quanto o piano, adicionando uma profundidade e riqueza às composições. Por último, seu talento como solista é inegável, e ele sempre consegue equilibrar de forma graciosa momentos de virtuosismo com passagens mais sutis e emotivas.
================================Benjamin Croft is a renowned British composer and pianist, widely recognized for his exceptional talent in jazz. Through his unique ability, he also has the capacity to integrate various musical styles into his compositions, something that has become a distinguishing factor for him in the contemporary music scene. Funk, progressive rock, and classical music also often feature in his palette of sounds, creating captivating work meant for listeners who enjoy intricate and well-structured compositions.
From an early age, he developed a great love for music, with the piano being the instrument he chose to begin his journey. His initial knowledge and where he deepened his understanding of both classical music and jazz was at the Leeds College of Music. Later on, he further refined his skills by enrolling at the prestigious Berklee College of Music, where he also became more acquainted with contemporary music.
In We Are Here to Help, his latest album, Croft alternates between instrumental and vocal tracks—four of each—creating a rich and dynamic listening experience. Jeff Scott Soto and Lynsey Ward provide the vocals on the album, while the guest musicians include heavyweights such as guitarists Greg Howe, Mike Stern, and Frank Gambale, bassists Billy Sheehan, Dave Marks, and Flo Moore, as well as drummers Simon Phillips and Marco Minnemann. Each track is meticulously crafted, showcasing the technical skill and artistic sensitivity of Croft and his guests.
"The Age of Magrathea" opens the album in a frenetic manner with impactful progressive rock. There are also strong elements of funk and fusion, with all the instruments working prominently to provide the listener with a diverse and rich experience. An incendiary organ solo, an impressive groove in the rhythm section, and intricate guitar lines, along with a vibrant solo, make for an excellent introduction to the album and set the tone for what's to come.
"We Are Here to Help" maintains the energy left by the previous track, now with Jeff Scott Soto introducing the first vocals on the album. It delivers a strong and impressive arena rock sound, while still retaining progressive elements. It stands out as an important song on the album, showcasing Croft's versatility and his ability to create pieces that are both accessible and sophisticated. The rhythm section is robust, anchoring the song and contributing to its overall impact, while the guitar and keyboards alternate in prominence with excellent exchanges.
"You Made Me Miss" is a fusion piece that, right from the start, reveals its credentials as a vibrant and engaging number. Listeners familiar with the first album by UK will likely notice some nods to the English progressive rock group here. Full of dynamism and creativity, with the whole band displaying impressive skill in creating exciting and unexpected contrasts, the piece even features a reggae-influenced moment during a deceleration segment. This is the kind of music that can be defined as technically captivating. "Caught in the Flypaper" brings Lynsey Ward's vocals for the first time. It offers a purer progressive rock sound, resonating with the essence of the genre's greats. Ward's voice is perfect for the occasion, providing depth and emotion that complement the complexity of the music. There's also a fierce and metallic instrumental passage characterized by keyboard solos that add an additional layer of intensity and virtuosity.
In "Same Siders", metal and fusion clearly embrace each other from the outset. It’s an impressive instrumental jam that combines a variety of sounds in a harmonious and captivating way. The combination of all its elements results in a track that is not only technically impressive but also offers an exuberant and memorable musical experience that resonates with a wide range of listeners. "Wrestling with Plato" brings a mix of progressive rock and fusion, resulting in a rich and multifaceted piece. Once again, Lynsey takes on the vocals and delivers a brilliant performance. The track is marked by several excellent changes. One of the most captivating aspects of the piece is its synthesizer solo, which beautifully adds a layer of virtuosity and musicality. Through great skill in balancing progressive rock—more prominently—and fusion—via elegant transitions—it is certainly one of the album's highlights.
"Lower Moat Manor" begins in a smooth and atmospheric manner, establishing a calm and introspective aura. However, this initial tranquility is quickly replaced by another vigorous fusion. The track skillfully navigates between melodic passages and moments of intense technical complexity, resulting in a piece that is both diverse and unified, as well as emotionally engaging and technically impressive. "She Flies Softly On" is the closing piece, once again featuring Jeff Scott Soto on vocals. It brings a powerful and progressive ballad to the album, standing out for its sections that rise to robust and exciting parts. The composition is filled with emotion, drama, and style, delivering a powerful chorus. It is constructed in a way that transports the listener on a beautiful musical journey, while traversing emotional highs and lows.
Benjamin Croft hits the mark with We Are Here to Help. His ability not only as a musician but also as a maestro who knows how to bring together and get the best out of great talents ensures that the music doesn't devolve into purposeless "duels." Croft stands out by masterfully using both the Hammond organ and the piano, adding depth and richness to the compositions. Lastly, his talent as a soloist is undeniable, and he always manages to gracefully balance moments of virtuosity with more subtle and emotive passages.
NOTA: 9/10
Tracks
Listing:
1.
The Age of Magrathea (7:14)
2. We Are Here to Help (5:09)
3. You Made Me Miss (6:48)
4. Caught in the Flypaper (6:14)
5. Same Siders (5:06)
6. Wrestling with Plato (6:49)
7. Lower Moat Manor (4:50)
8. She Flies Softly On (5:41)
Ouça, "Lower Moat Manor"
Benjamin Croft is a renowned British composer and pianist, widely recognized for his exceptional talent in jazz. Through his unique ability, he also has the capacity to integrate various musical styles into his compositions, something that has become a distinguishing factor for him in the contemporary music scene. Funk, progressive rock, and classical music also often feature in his palette of sounds, creating captivating work meant for listeners who enjoy intricate and well-structured compositions.
From an early age, he developed a great love for music, with the piano being the instrument he chose to begin his journey. His initial knowledge and where he deepened his understanding of both classical music and jazz was at the Leeds College of Music. Later on, he further refined his skills by enrolling at the prestigious Berklee College of Music, where he also became more acquainted with contemporary music.
In We Are Here to Help, his latest album, Croft alternates between instrumental and vocal tracks—four of each—creating a rich and dynamic listening experience. Jeff Scott Soto and Lynsey Ward provide the vocals on the album, while the guest musicians include heavyweights such as guitarists Greg Howe, Mike Stern, and Frank Gambale, bassists Billy Sheehan, Dave Marks, and Flo Moore, as well as drummers Simon Phillips and Marco Minnemann. Each track is meticulously crafted, showcasing the technical skill and artistic sensitivity of Croft and his guests.
"The Age of Magrathea" opens the album in a frenetic manner with impactful progressive rock. There are also strong elements of funk and fusion, with all the instruments working prominently to provide the listener with a diverse and rich experience. An incendiary organ solo, an impressive groove in the rhythm section, and intricate guitar lines, along with a vibrant solo, make for an excellent introduction to the album and set the tone for what's to come.
"We Are Here to Help" maintains the energy left by the previous track, now with Jeff Scott Soto introducing the first vocals on the album. It delivers a strong and impressive arena rock sound, while still retaining progressive elements. It stands out as an important song on the album, showcasing Croft's versatility and his ability to create pieces that are both accessible and sophisticated. The rhythm section is robust, anchoring the song and contributing to its overall impact, while the guitar and keyboards alternate in prominence with excellent exchanges.
"You Made Me Miss" is a fusion piece that, right from the start, reveals its credentials as a vibrant and engaging number. Listeners familiar with the first album by UK will likely notice some nods to the English progressive rock group here. Full of dynamism and creativity, with the whole band displaying impressive skill in creating exciting and unexpected contrasts, the piece even features a reggae-influenced moment during a deceleration segment. This is the kind of music that can be defined as technically captivating. "Caught in the Flypaper" brings Lynsey Ward's vocals for the first time. It offers a purer progressive rock sound, resonating with the essence of the genre's greats. Ward's voice is perfect for the occasion, providing depth and emotion that complement the complexity of the music. There's also a fierce and metallic instrumental passage characterized by keyboard solos that add an additional layer of intensity and virtuosity.
In "Same Siders", metal and fusion clearly embrace each other from the outset. It’s an impressive instrumental jam that combines a variety of sounds in a harmonious and captivating way. The combination of all its elements results in a track that is not only technically impressive but also offers an exuberant and memorable musical experience that resonates with a wide range of listeners. "Wrestling with Plato" brings a mix of progressive rock and fusion, resulting in a rich and multifaceted piece. Once again, Lynsey takes on the vocals and delivers a brilliant performance. The track is marked by several excellent changes. One of the most captivating aspects of the piece is its synthesizer solo, which beautifully adds a layer of virtuosity and musicality. Through great skill in balancing progressive rock—more prominently—and fusion—via elegant transitions—it is certainly one of the album's highlights.
"Lower Moat Manor" begins in a smooth and atmospheric manner, establishing a calm and introspective aura. However, this initial tranquility is quickly replaced by another vigorous fusion. The track skillfully navigates between melodic passages and moments of intense technical complexity, resulting in a piece that is both diverse and unified, as well as emotionally engaging and technically impressive. "She Flies Softly On" is the closing piece, once again featuring Jeff Scott Soto on vocals. It brings a powerful and progressive ballad to the album, standing out for its sections that rise to robust and exciting parts. The composition is filled with emotion, drama, and style, delivering a powerful chorus. It is constructed in a way that transports the listener on a beautiful musical journey, while traversing emotional highs and lows.
Benjamin Croft hits the mark with We Are Here to Help. His ability not only as a musician but also as a maestro who knows how to bring together and get the best out of great talents ensures that the music doesn't devolve into purposeless "duels." Croft stands out by masterfully using both the Hammond organ and the piano, adding depth and richness to the compositions. Lastly, his talent as a soloist is undeniable, and he always manages to gracefully balance moments of virtuosity with more subtle and emotive passages.
NOTA: 9/10
Tracks
Listing:
1.
The Age of Magrathea (7:14)
2. We Are Here to Help (5:09)
3. You Made Me Miss (6:48)
4. Caught in the Flypaper (6:14)
5. Same Siders (5:06)
6. Wrestling with Plato (6:49)
7. Lower Moat Manor (4:50)
8. She Flies Softly On (5:41)
Ouça, "Lower Moat Manor"
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