A key entry in the Smith discography, cut in the pre-Wadada days, Divine Love is an album that wears its title very well. It is one of the trumpeter’s most heartfelt and engrossing expressions of humanity and compassion, channelled via sounds that build on his imagination and advanced empathy with the other members of the band. The crystalline quality of the Ton studio in Bauer, Ludwigsburg is perfect for the almost temple-like ambience of music that is deeply introspective and centered on the precise relationship between sound and silence. Smith’s brass, particularly his muted horn, is both an ethereal and energising presence, unfurling succinct melodies that are superbly complemented by Bobby Naughton’s vibraphone. His chords are like pearls that glimmer rather than shine too conspicuously. That said, the work of multi-reedist Dwight Andrews is also striking, with the low register sighs of his alto-flute making for a vivid contrast to the sharper scrapes heard elsewhere. So, while the fluid, ethereal character of Smith’s composing is a major part of the appeal of this work, the gorgeous, luminous sound palette created by the players is also outstanding.