Steve said:

Last Wednesday, Ben Crosland (BC) brought his “all-star” band to Fleece Jazz to perform arrangements of the music of Ray Davies, the lead vocalist, rhythm guitarist and primary songwriter for the rock band The Kinks. This was the third time that we’ve had this act, although not with the same line-up, which made this occasion even more special for reasons that will become apparent.

If, like me, you had previously dismissed the idea of a jazz interpretation of the music of Ray Davies as a stretch too far, think again. Davies is indisputably one of this country’s greatest songwriters, with quintessentially English themes and cultural references, nostalgia and social satire reflected in his lyrics. The songs of the Kinks have become like a modern folk music, a part of the British national consciousness. But tonight’s act had no vocals, so how can this work? The melodies and hooks from The Kinks’ songs, best remembered from Ray and Dave Davies’ wistful vocals, are a gift for interpretation in the jazz idiom. As Ben explained early in the first set, he was inspired by listening to Ray perform a swinging version of an old Kinks’ number on acoustic guitar before he (Ben) was commissioned by Marsden Jazz Festival to write a set of jazz arrangements of Davies’ iconic songs. The result was not just a success, it was a triumph. 

Many of Ray Davies’ best known songs were featured throughout the evening including other, perhaps, lesser-known ones.  It took just a matter of minutes into ‘Dedicated Follower of Fashion’ before our near capacity audience were treated to the guitar/sax pyrotechnics courtesy of Theo Travis (TT) and John Etheridge (JE). Roars of approval from the crowd and applause were frequent throughout the gig as the Soft Machine partnership sparred and complemented one another on several numbers. The gentler paced bossa version of ‘Set Me Free’ gives Steve Lodder (SL) more prominence and space as he delivers the first of many sparkling solos on acoustic piano. Throughout the evening, he never fails to impress as he switches from piano to keyboards and occasionally playing both at the same time.  TT swaps his tenor sax for soprano for ‘See My Friend’ and beguiles the audience with his virtuosity and versatility once again, before JE contributes some lithe and slippery guitar lines towards the close while the rhythm section add texture to the group sound. SL moves back to keys for a languid, spacey interpretation of “Tired of Waiting for You”; BC describes the song as having a “down-home groovy feel”. Featuring JE’s tremolo guitar sound, BC contributes a liquid, melodic electric bass feature before JE’s gently soaring guitar solo. Nic France (NF) introduces an appropriately joyous shuffle through ‘Ev’rybody’s Gonna be Happy’ with JE’s agreeably distorted guitar trading blistering solos with TT on soprano sax before SL takes over on suitably buoyant piano with BC and NF adding a skipping, jaunty rhythm. As with all of the numbers heard during the performance, the melody of the original song remains intact. ‘Days’ is a fine example of this in BC’s arrangements and I imagine that, like me, many in the audience could hear Davies’ lyrics in their head. A relaxed, warm arrangement brings out the gentle nostalgia of the song with lyrical solos coming from SL on acoustic piano and TT on fluent tenor sax.  The first set ends with ‘Till the End of the Day’ which is given a funky, soul-jazz feel here: led by SL’s Hammond-like keys, with solos coming from TT on earthy tenor sax and JE on guitar, with BC and NF working together to create a powerfully swinging groove. 

By the interval, it was clear that this was already a candidate for the most outstanding gig of the year; our first of 2025! ‘A Well-Respected Man’ is given a straight-ahead swing arrangement with TT leading the way on tenor sax and NF exuberant on his first extended solo of the evening.  BC invites the audience to sing along to ‘Sunny Afternoon’. What?! Surely not! But it is fine.  The reggae beat works well in conjunction with TT’s tenor sax as he emphasises the hook with squalls of guitar from JE concluding with a virtuosic guitar break towards the end.  Despite this, the whole piece has a delightfully relaxed feel.  The catchy rhythm of ‘All Day and All of the Night’ is delivered superbly by BC and NF with the latter’s crisp drum grooves propelling the famous riff which is delivered in tandem by JE and TT. The rousing riff eventually becomes the jumping off point for a barnstorming solo by JE that reflects his jazz, rock and blues influences. SL then stretches out on electric piano before the quintet coalesce once more on the high-octane finale.  ‘Apeman’ has a Caribbean feel, a calypso style treatment with SL doubling up on acoustic piano and keys, which combined with JE’s synthesised guitar created the sound of steel drums. TT then strikes out with another expansive soprano sax exploration before the song draws to a close. The announcement of ‘Waterloo Sunset’ is met with coos of delight. SL introduces the number with deep, ominous chords on acoustic piano before JE and TT pick up on the theme and BC states the timeless melody. The final number is introduced by the familiar riff of ‘You Really Got Me’ played in by SL on keys, producing a spirited soul jazz organ sound supported by BC on electric bass and JE on electric guitar before erupting into two solos, the first from TT on soprano sax followed by JE on blues-rock guitar as SL’s Hammond swirls and churns around him. There’s also an engaging drum solo from NF before the band return to play us out.  Such an incendiary performance over two sets is worthy of calls for an encore and the band obliged with the B side ‘Sittin’ on My Sofa’ from the pens of both Davies brothers.  The fast, shuffling beat acts as the jumping off point for powerful and incisive solos once again from TT on soprano sax and JE on guitar.  It will take a lot to beat such a breathtaking performance as this superb tribute to the timeless quality of Davies’ songwriting. 

Dave said:

Setting up for the gig is fun, particularly if the band arrives at the same time and rehearses as we rig. We have a new worker, Ed; we are grateful for his help. We could use more.

What can I say about such a wonderful gig? The music was familiar to the audience, the musicianship was extraordinary, the musicians had a great time, so did we. This is one of those gigs that will stand in the memory. The highlights for me were the pairings; John and Theo harmonising and cutting, Ben and Nic, both grinning , Steve with everybody. Its going to be difficult to top this gig.

Which, of course, we will do. On the 22nd of January the welcome return of Jazz At The Movies. Joanna Eden is a top rank singer, Chris Ingham’s research, presentation and playing is superb, and the band is lovely. This is not a missable gig.

Take care,

Dave

Ben Crosland’s Quintet presents The Ray Davies Songbook SETLIST, FLEECE JAZZ 08/01/25 (compiled by Steve Jordan)

All numbers composed by Ray Davies apart from the encore, ‘Sitting On My Sofa’, which was composed by Ray Davies and Dave Davies. All arrangements by Ben Crosland

1.   Dedicated Follower of Fashion
2. Set Me Free
3. See My Friend
4. Tired of Waiting for You
5. Ev’rybody’s Gonna Be Happy
6. Days
7. Till The End of The Day

*          *          *           *         *        *        *

8. A Well-Respected Man
9. Sunny Afternoon
10. All Day and All of the Night
11. Apeman
12. Waterloo Sunset
13. You Really Got Me
14. Encore: Sittin’ On My Sofa

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