By 1977 Jazzbo had launched Ujama, recording as a singer for the label, under the name Johnny Cool. Neither his alter ego nor his label was commercially successful. Jazzbo reached the start of the 80s, and the impending dancehall boom, in much the same state as his fellow DJ pioneers I. Roy, U-Roy and Big Youth: he had talent but reggae’s styles were changing fast. Jazzbo decided that Ujama had to become a viable operation, and from around 1983 onwards, it has been just that - even if his idiosyncratic production style and somewhat off-the-wall ideas have held it back in the larger marketplace. Besides offering a shelter for older DJs such as U-Roy and I. Roy, Ujama specializes in finding the sorts of reggae acts other producers overlook, including Zebra, Manchez and Horace Ferguson. None of them have reached the status of Jazzbo’s most famous ally, Frankie Paul, but this is wholly in keeping with Ujama’s symbol of a donkey, because, as Jazzbo frequently tells people, ‘a donkey may not arrive quickly, but it was good enough to carry Jesus and will not suffer a mechanical breakdown on the way’. The cheaply produced sleeves of his albums nearly always feature a cartoon donkey carrying Jazzbo or taking part in a horse race. While Jazzbo is unlikely ever to achieve great international success, his career received an unexpected boost in 1991 when Studio One finally released his album Choice Of Version, some 18 years late, to ecstatic reviews and considerable excitement. If it had been issued in 1973, Jazzbo might have been in a far stronger position today.