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Appropriately, the veteran bass player’s second album with his trio starts with a delicate, considered bass-led piece, ‘Contact’. It starts with taut, cleanly-recorded solo bass, gradually joined by the slightest of shimmers from Joey Barron’s cymbals and the odd subtle chord from pianist Marc Copland, before settling into a more familiar piano trio form. Even then, Peacock is constantly busy in the background, and Barron rock-solid.

Unusually, a period-instrument recording with a large complement of cellos and basses, recorded (apparently over a whole week of sessions) at a Berlin studio. The booklet note is another of Currentzis’s indulgent addresses, this time largely to the composer. I thought his Tchaikovsky Violin Concerto with Kopatchinskaja [HFN Apr ’16] was a travesty of the music and other reviews warn that, here, he takes the music to extremes – The Times, though, welcoming ‘a return to subjectivity’ in interpretation.

Like other conductors, Stéphane Denève finds Prokofiev’s orchestral suites from Romeo And Juliet and the later, more traditional ballet, Cinderella, dramatically unsatisfactory and has prepared his own ‘Suites Romantiques’ that follow the story-lines more clearly. In the famous dissonances opening R&J his Brussels Orchestra articulates the brass writing with complete security, and these spacious readings – I have never heard the minuet with Paris and Juliet [trk 5, 1m 56s] taken so slowly before – allow every colour in the score to emerge with perfect clarity.

For Souvenance, Anouar Brahem’s last release and HFN album of the month [HFN May ’15] this master of the oud enlisted a string orchestra to join some of his regular accompanists, but this time he’s started afresh. Having recruited the great ex-Miles bassist Dave Holland (who played on Brahem’s album Thimar in 1997), the renowned fusion drummer Jack DeJohnette was a natural choice. British composer Django Bates was suggested by ECM co-founder Manfred Eicher, who’d just been recording the pianist’s Belovéd trio, and though absent from the contemplative ‘Bahia’, Bates brings a wealth of ideas elsewhere. In the final, aptly-titled ‘Unexpected Outcome’, what seems at first a simple, even jazz pulse from Holland soon develops into something far more subtle.