With more Spanish discs behind him than any other British pianist, Martin Jones has made a special corner in the Iberian repertoire. After Granados, Albéniz, Falla, Turina and Mompou came Nin, and now Ernesto Halffter (1905‑89). And here both mischievous and nostalgic memories of those composers come dressed in a strikingly novel dress and sophistication. The opening Espagnolade remembers Albéniz’s ‘Seguidillas’ (Spanish chopsticks), while the third of the dances from the ballet suite Sonatina recalls the wild stamping of Falla’s Fantasía Baetica. There are shades of Poulenc’s Mouvements perpétuels in the third of the Piezas infantiles (where Jones is joined by Adrian Farmer), while Homenaje a Federico Mompou is in beguiling slow waltz-time and Homenaje a Joaquín Turina is an all-the-fun-of-the-fair piece. Pregón Cuba declares its nationality in every bar, and yet throughout each offering the wonder is that Halffter transforms his sources into a voice that is never less than arresting and original.

Martin Jones’s performances are a delectable mix of sensitivity, concentrated wit and energy (try him in Espagnolade), making it difficult to imagine such an exotic programme played with greater charm and dexterity. A complete Ravel cycle made in Nimbus’s more recent demonstration sound would be more than welcome from this pianist. Calum MacDonald’s most informative notes are an added bonus and so is the front cover of 16th-century windmills in Castilla-La Mancha.