Trumpeter and flugelhornist was a Barbados-born British emigre whose gorgeous tone almost always put him in historic company. He played with and the leading lights of the '60s, '70s, and '80s British jazz scene, including , , and . He also worked with rock musicians and electronic, dub, and reggae producer , who helmed 's final album in 2008. 1975's is 's classic. Once a forgotten collector's holy grail, its rediscovery ranks it as one of the finest jazz outings of the '70s. Like saxophonist and fellow Caribbean emigre pioneered a distinct brand of Caribbean- and African-infused jazz. Their recordings deeply influenced a new generation of London jazz players including . Produced by for 's title aptly reflects its creator's always cheerful persona. Its six -composed tracks offer an indelible portrait of his hearing and playing of jazz, as well as where he wanted to take it. He's backed by a quintet that includes guitarist , bassist , pianist/synthesist , drummer , and conguero . "No Time for Hello" kicks off with a fleet pizzicato run from 's upright, establishing a bluesy, minor mode that draws heavily on rock and Latin rhythms. 's solo reaches for high notes immediately atop fat Rhodes piano chords and crisp, accelerated interplay from the drummers. 's scorching wah-wah guitar break underscores 's own solo before moves his bass into arco territory, meeting the band in the outro. 's Caribbean roots account for "Glowing," with soaring runs and a sprightly, happy, calypso-flavored groove appended with funky asides. If there is an African cousin for this tune, it's 's "Grazing in the Grass." "Changes Are Still Happening" is brief, elegiac ballad, with playing acoustic guitar and 's warm, expressive horn. "Bracelets of Sound," with its spooky, spacy, electric guitar introduces the band, who erase the vibe with a midtempo funk vamp. 's soulful solo trades fours with 's punchy Rhodes. Calypso reappears in "Rings Within Rings." The band channel syncopated soul, funk, and swinging post-bop, all illumined by 's infectiously happy, bright tone, polyrhythmic phrasing, and peerless Caribbean lyricism. Closer "Not Just Tomorrow" begins as a ballad with drawing out the melody atop a stately groove. His extended solo is intimate, intricate, and the picture of tonal economy. adds drama with fuzz and wah-wah pedals, filling and coloring the harmony while adding an exotic, bluesy edge. The tune evolves yet never loses its lyric center; the players freely exchange fills and short solo breaks in canny, seductive interplay that drifts toward a blissed-out fade nine minutes later. is peerless; its near perfect balance of sounds, rhythms, and simpatico musicianship present a masterful blueprint for the array of creative possibilities in electric jazz. ~ Thom Jurek