With a stellar band that includes cellist, Shirley Smart, guitarist Guillermo Hill, Alec Dankworth on bass, and the drums and percussion of Simon Pearson and Andre Ticino, along with vocalists Eleonora Clapps and Linley Weir. As has recently been observed, “As a pianist John has now managed to develop a style and sound of his own - he really doesn’t sound like anyone else. There are so many jazz pianists - that’s quite an achievement”. As if to echo this sentiment Room for Dancing brings together some of John Crawford’s most adventurous compositions and playing to date in a joyous blend of carefully selected tunes that for all their diversity sit together comfortably as a uniform whole that as the album’s title suggest, is full of movement. Room for Dancing heralds a burgeoning confidence for the pianist, and with this confidence John Crawford has looked to push himself and the band in these exhilarating, tender and lyrical compositions. There is a playfulness in the music that is captured wonderfully by the band and in John’s use of unusual time signatures. This can be heard in the opening ‘Maîte’s Dance’ in 11/8, prompting guitarist Guillermo Hill to confess that it is “the hardest album I’ve ever played on”, and in 11/8 is “Polegnala e Todora” by Philip Koutev. One of Koutev’s most famous choral compositions and based in a traditional Bulgarian folk song, this is a delightful piece of music that despite the tricky time signature has powerful contributions from both bass and drums. There are excellent vocal performances from Eleonora Clapps on a tender rendition of Billy Joel’s “And So It Goes” and the powerful voice of Linley Weir on “Track”. Originally recorded with Linley for her own recording it was felt it was not quite right for that album. John had not forgotten the song, and quite rightly decided that it would be perfect for Room for Dancing. Friend, singer, and composer Andriana Vasques wrote the lovely “Blossom”, and since John had performed this with Adriana, he was always interested in playing and arranging this composition for his own band. Here the music, in 5/4, is given a rather special reading with Guillermo Hill’s outstanding playing along with the cello of Shirley Smart. John’s admiration for Shirley Smart is apparent and the two musicians have collaborated frequently. The writing for cello within the ensemble is clever and effective and this no more so than on “Club Del Campesino” a piece that Crawford wrote for piano and four hands and published in Nikki Iles’ book “Grooves for Two”. John explaining how he had always heard the tune as an ensemble piece has arranged this beautifully to feature the cello. The album also comes with an additional track as a download in “Bow and Codine”. An unusual title that John refers to as his dedication to Shirley Smart adding that “when I hear Shirley play, I feel that her music can wash away any pain”. This is life affirming music that communicates to all through the beauty of music and ensuing dance in our imagination.