BENJAMIN CROFT

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.