Pianist-composer Crawford cites his Spanish-English parentage as a vital factor in his music-making. His bio outlines his credentials as one of the UK’s premier Latin piano specialists, while also emphasising his forays into the pop-world as well as his many credits performing with jazz artists. So, a kind of pianistic all-rounder but one with a predilection for the Latin-ate style, one might conclude.

That said, Crawford’s music, as exemplified in these varied compositions – while it has direct appeal and engages the listener with its danceable tempos and engaging structures – is a far cry from the normal brief for review in this magazine. The Latin influences, as principally conveyed by the insistent percussion, are dominant as is the use of repeated motifs with the opportunities for jazz improvisation largely absent. ‘Maîte’s dance’ opens with piano over shuffle percussion, jumps to jazz piano briefly, and seesaws back to the theme with a percussion finish. ‘Elena’s Dance’ is sparser, concentrating on repeated figures. ‘Club Del Campesino’ introduces Smart’s cello over a tango rhythm, with a percussion underlay. ‘Things’ with Ms Claps (Mrs Crawford) is sombre but attractive, and highlights a Dankworth solo, this bassist a player who has functioned in this kind of cross-cultural situation before. Billy Joel’s ‘And So It Goes’ has Claps and Crawford in reflective mood, Crawford’s piano Jarrett-like. Readers who veer towards the eclectic or who favour a variety of approaches should investigate.