This is the final part of an Ardley trilogy, preceded by two highly collectable British jazz vinyl albums, Greek Variations (1969) and A Symphony of Amaranths (1971). For some reason, Kaleidoscope of Rainbows has not (yet) been assiduously pursued by collectors, despite being just as strong in both concept and execution as its predecessors.

While its instrumental scale appears small, its orchestral intension remains broad and ambitious. The underlying thematic material of the trilogy derives from certain note patterns and scales on each album that are developed and explored over a large sonic canvas. Here, Ardley uses Balinese scales – the pelog, a Gamelan scale comprising seven notes, and the slendro, an older, more commonly used Gamelan scale. They are used in a variety of note patterns, each unique combination the basis of a series of ‘Rainbow’ compositions, from ‘Rainbow 1’ to ‘Rainbow 7’, bookended by a ‘Prologue’ and ‘Epilogue.’ Each Gamelan pattern has certain tonal properties which are developed and explored in ensemble while the soloists are free to chart their own destiny. From the entrance of the musicians, one by one, on ‘Prologue’ through each of the ‘Rainbow’ variations, with the exception of the stately ‘Rainbow 2’ with its memorable instrumental choir of flute, soprano saxophone, alto flute and bass clarinet, the feeling is of motion; note clusters, solos and melodic motifs seem to dance in and around the rainbow’s bright and colourful hues.

The soloists rise to the challenge of the moment – Ian Carr in ‘Rainbow 1’, Barbara Thompson’s soprano sax solo on ‘Rainbow 2, Tony Coe’s vivid clarinet on ‘Rainbow 5’, while the ensemble textures and densities conjured out of trills and tremolos become the star of ‘Rainbow 6.’ ‘Epilogue’, a recapitulation similar in concept to the finale of Greek Variations, is a reminder that that the musical colours and textures of Kaleidoscope of Rainbows – sometimes spontaneously conceived by the musicians themselves – have equal depth to the albums that preceded it. It is an album that suggests the best may still have been ahead of Ardley, but after Harmony of the Spheres (1979), what was his final large scale piece, Ardley’s career with Dorling Kingsley saw him become a hugely successful writer and editor of children’s books.