Studying in Paris helped to define Alison Balsom’s belief of what a virtuoso trumpet soloist might achieve in the footsteps of her mentor, Maurice André. This potpourri of a recital is, though, very much of its own time, eclectically flavoured in its collaborative elements and juxtaposition of music languages, and deftly underpinned by Balsom’s considered curating.

If the opening Satie Gymnopédie represents something of a beguiling temptress, a pair of Piazzollas reveal the soloist’s inimitable capacity for shaping a melody with the seasoned tonal focus and impeccable intonation which are integral to Balsom’s admired armoury.

For all the ‘loungey’ resonances in the arrangements, there is considerably more skill here than meets the eye. One could never imagine how Michel Legrand’s La valse des lilas could morph successfully into a reimagined vision of Messaien’s ‘Le baiser de l’Enfant-Jésus’ – but it does with almost Ravelian exoticism. Purists who followed Yvonne Loriod’s Vingt regards around the world may run a mile, but the result is an ensemble piece of kaleidoscopic discrimination and invention.

Slow-tempo trumpet discs can take their toll in a single sitting, however fine the playing, but there is a pleasing overall shape here; only in the arrangement of the slow movement of the Ravel concerto does the removal of the composer’s exquisite original textures occasionally outweigh the gains, not helped by some neutral longueurs in the emotional journey. Atmospherically recorded (as if in a smoky Montmartre club), with a high proportion of excellent arrangements to match Balsom’s measured panache, the key to this project’s success lies in how she, Guy Barker and Timothy Redmond have restitched a seam of Parisian music culture and envisaged a world which has taken on a life of its own.