Charlie Parker’s Ornithology on the treble recorder? Surely not. But yes, this is exactly how Dutch recorder supremo Lucie Horsch has opened ‘Origins’, a globetrotting programme of specially commissioned arrangements and transcriptions celebrating the recorder’s connections to folk music, its repertoire ranging from classical to popular, supported by a host of energetic guest collaborators.

Horsch’s fellow musicians here are Amsterdam crossover sextet Fuse, and damn they’re good. It’s impossible not to be tapping your toes, lapping up their joyously insouciant swing and revelling in the tight interplay between the instruments. Most importantly of all, though, Horsch is in deep with them, not just slotting right into this interplay but adapting her delivery to slide into jazz style.

What’s most impressive about this album is the meticulous thought Horsch has given to each piece’s sound world – drawing on the ranges and tonal qualities of eight different recorder types but also consulting her collaborators on each genre’s finer stylistic points; and moments such as the surprising success of Piazzolla’s Libertango and Fuga y misterio with Dutch bandoneón player Carel Kraayenhof and Ludwig Orchestra are testament to the degree to which she’s clearly soaked up their direction like a sponge.

Personal favourites include Horsch’s own arrangements of Bartók’s Romanian Folk Dances, employing five different recorders to produce a panoply of colours, with the attentive partnering of Dani Luca on cimbalom; a rhythmically en pointe reading of Heraclio Fernández’s El diablo sueito (‘The Devil on the Loose’), for which guitarist Sean Shibe has hopped over from Pentatone, Horsch’s clean-toned lines spiced with cheeky flutter-tonguing; an effortless borrowing for the recorder – or smokily soft voiceflute, to be exact – of Debussy’s Syrinx; the blend of theatrical caprice and easy virtuosity she displays over another solo recorder number, Isang Yun’s The Actor with the Monkey, with its extended techniques; and the way the non-well-tempered clarity and power of a Renaissance tenor is set off by the delicate brightness of Bao Sissoko’s African kora in Nyami, the second of two improvisations on traditional Senegalese songs.

Conceptually enterprising, sparkily executed, spotlighting both Horsch’s formidable technical prowess and her inventive powers, ‘Origins’ is an unexpected and marvellous affair.