Some of the most innovative hip-hop of the ’90s was made by artists who were raised on jazz. After that, some of the most innovative jazz of the 2000s was made by artists raised on hip-hop. São Paulo-by-way-of-Florida trumpeter/composer Theo Croker isn’t just a product of those decades of cross-pollination; his tastes are omnivorous, taking in ’80s boogie and Brazilian pop, classic rock and rocksteady, quiet storm, UK downtempo, abstract electronic beat tapes, and almost literally anything one could put in between those nonlinear points. His eighth album is his most varied and inventive to date. It might ease you in with a simple piano riff and the gorgeously alive tone of his horn on “prelude 3,” but things quickly turn woozy and watery—indeed a manifestation of the dreamy state from which the whole LP springs. Vocalists Estelle and Kassa Overall guest on the laidback and soulful hip-hop slow jam “one pillow.” “64 joints” (a lotta weed, by anyone’s estimation) mixes singer Tyreek McDole's spiritual jazz style with a ’60s easy-listening palette that evokes early Stereolab. And “light as a feather,” which features sax icon Gary Bartz, fizzles with underground electronic energy. All the while, Croker’s trumpet shifts shape to match every song, maybe most surprisingly on “we still wanna dance,” which is so vibey and propulsive, it could slot into a deep-house set.