The late, great UK-resident Barbadian musician Harry Beckett had an instantly recognisable signature on the trumpet, a blend of vivacious suggestion, tender reflection, and beguiling laughter. In the 1950s and 60s, he had worked with innovative jazz bands from Mike Westbrook's to Graham Collier's, and jazz and blues-influenced R&B groups including Keef Hartley's band, and Herbie Goins and the Night-timers. Joy Unlimited was made when he was a first-call player on the UK jazz scene in the mid-1970s. Darryl Runswick's nimble, flickering bass vamp ushers in Beckett's hustling ‘No Time For Hello’ with its theme-chorus merging his warmth on trumpet and guitarist Ray Russell's sustain sounds, operating like a second horn. ‘Glowing’ is an irresistably weaving, springy Caribbean dance; ‘Changes Are Still Happening’ is a lovely sighing ballad interlude accompanied only by Russell's acoustic guitar; ‘Bracelets of Sound’ shuffles a loose groove under a lazily sunlit melody that builds to a rocking crescendo; and ‘Rings Within Rings’ is a chattery Latin swinger featuring a deliciously slithery, squealy Beckett trumpet break. It sounds like a jam (Harry Beckett's albums were usually recorded in a packed day), and the materials are sketchy and generic – but I wrote on the original's liner notes, and would still happily declare: ‘Harry Beckett, whose attitude to his work is of the heart, not the head, is a musician with that elusive and indefinable magic of taste. He never has to try too hard.’