“Robinson’s score (for Frank Borzage’s ‘Seventh Heaven’) was a superbly crafted montage of leitmotifs: for the lovely heroine, string chords in the style of the ‘Moonlight’ interlude from Peter Grimes: for the power of fate, ominous bluesy music; and for war, cello chords and spiteful noises from the nether regions of the tenor sax. Robinson has the art of doing these things with perfect continuity.”

Nicholas Williams ‘The Independent’,

the band swerve cheerfully from demented French coffee house dance music, via a folksy snake - charming arabesque, to a grieving tango

“For Jean Cocteau’s ‘Le Sang D’un Poete’ (1930), Walter Fabeck (now on grand piano) was joined by the rest of the Harmonie Band: cello, saxes, clarinet, synthesisers and accordion, with a lovely countertenor voice (Tim Massa). Paul Robinson’s vivid music used recurring melodic themes as a navigational aid to Cocteau’s twisty play. To start: an ironic brittle triumphalism, as an artist works on a portrait of a woman. Then the painting’s mouth suddenly appears on his hand, and a statue of a woman comes to life. The artist splashes through a mirror to land in the ‘Hall of Theatrical Follies’ and the band swerve cheerfully from demented French coffee house dance music, via a folksy snake - charming arabesque, to a grieving tango. Robinson’s musical imagination also encompasses echoes of minimalism, with a rapid tenor piano riff underpinning wailing saxophones and more abstract, atonal effects, for the appearance of an angel. The film’s ending, with the statues ambivalence towards immortality, was matched by a wide open suspended chord, over which a glockenspiel line slowly faded from the ear, as a dream fades upon waking.”

Stephen Poole ‘The Independent’,