Robin Jones' Latin Underground - Seven Stops to Heaven (2014)

“One hardly knows whom to lavish praise upon first but in the opening number, an incandescent version of ‘Night in Tunisia’, Gavin Broom asserts his authority by soaring through the famous break into a solo that lifts the familiar piece to new heights of expressive fervour whilst Nick Walker on baritone combines the heft of Ronnie Cuber with the excoriating attack of Pepper Adams in an earthmoving synthesis that drives all before it...All the tunes are graced with highly melodic solo content and unflagging rhythmic commitment making for one of the most rewarding recitals of this type that I’ve enjoyed since Hilton Ruiz’s ‘El Camino’, a disc that I’ve long prized and alongside which this British manifestation of the Latin American genre deserves to be placed.” - Euan Dixon, Jazz Views

“Kicking off, suitably ambitiously, with a fine, Latino-fired version of ‘A Night in Tunisia’, this third disc from the underrated British bandleader and conguero Robin Jones and his re-named Latin Underground is a solid effort that continues a mission to rework original Latin and jazz standards with a fusion of Latin, jazz and funk. It’s also a disc that rewards repeated listening. The multi-talented septuagenarian should be no stranger to readers of these pages; Jones has worked with everyone from Al Jarreau and Barney Kessel to drummers including Philly Joe Jones...The four Walker originals scattered through the track listing work well, no small thanks perhaps to engineer Marc Cecil.” - Jane Corrnwell, Jazzwise

“Latin percussionist Robin Jones releases a wonderful nine-track CD the joyfulness of which is there for all to hear. Strong covers of Night in Tunisia, Passion Fruit and Mambo Inn vie with new material like Sputnikin to grab the listener. Try the following No Text Please - We're British: the sextet swings and swings hard. Brilliant.” - Laurence Prangell, Echoes

“Conga master Robin Jones puts together a swinging salsa team for a mix of jazz standards and originals. He, together with Cecil and Gee lay down a sizzling foundation that serves as a catapult for the soloists. Broom's trumpet is Lee Morgan-piercing on an exciting take of "Night In Tunisia" while Walker's baritone sax opens up bel canto before the rhythm comes in for a grandiose take of "Laura." Kibble's piano does a wonderful dance with Gee in "Passion Fruit" before changing partners and dips and dives with Jones to close the song. Trumpet and flute float over a lovely "Song for Melissa" while the percussion saunters over "Which is Broom?" before the congas take over on a sizzling reading of the title track. Latin lovers will flock to this one.” - George W. Harris, Jazz Weekly