I have been working on my composition "Kas Kas" for a few months now. Almost 4 months.
It started when Desi Jones asked me to perform it as part of an online series of videos that his son was pushing on social media for his band Skool.
It was a last-minute call and I had some trepidation. For one, I had not played any serious guitar in a long time and I was not even sure that my technique would hold up on a somewhat demanding piece. Secondly, I had not been feeling well for a while. I had taken a lot of blood tests and been to the doctor and yet did not know what was wrong with me. was dicey stuff but Desi was ebullient and therefore irresistible. 
As I prepared for the performance I was presented with a dilemma. I no longer wanted to perform in this way. The reason that I had not played guitar in such a long time was that it gave me very little in terms of personal fulfillment. I did not see myself as a guitarist. I saw myself as a composer.
I sent Desi whatever scores that I had and asked, "Will there be horns?". His response was quick and decisive. There would be no horns as it would take too much effort to rehearse.
Needless to say, I was disappointed. My friend, Harold Davis had done one of these sessions before and had commented on the presence of horns and how special it was. I had thought that I was going to have the same experience.
I did not fight it as I understood the logic and the logistics of the average Jamaican musician's attitude to sight-reading. I agreed that it was not worth the grief. I also am always pleased and honoured to perform with Desi Jones. He is one of my heroes.
Ottey (Othniel Lewis) was the keyboardist on the recording. This was great for me as Ottey is one of the musicians who has played Kas Kas the most over the years. This means that we had a lot of fun playing the song. As I drove off I called him and thanked him so much for making the recording so special.
Though we had a good time and there was a warm feeling afterward I still had a sense of regret. I felt that I had failed to truly represent myself as I see myself.
I decided to correct that and went to work.
I had recently downloaded a new sample library. The Garritan Jazz & Big Band 3 Sound Library. I was working on a film score and noticed that I was not getting what I needed in terms of sound and articulation from the Jazz instruments I had. Having downloaded the new library I was pleased with the increased realism and warmth I was getting. It was inspiring. I was hearing the type and quality of sound that I wanted to hear!
With my new determination to present myself as a composer, I decided to apply the new library to the scores of Kas Kas that I had.
It came alive.
I then was inspired to start working.
The first thing that I did was to change the lead instrument from guitar to steel pan. This is because that is how I originally heard it in my head when I wrote in 1997 on the train track in Concord, Massachusetts.
Once I started hearing that pan play that melody....we were off to the races. I started working to define and refine Kas Kas as part of my legacy as a composer.