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Recorded in Paris in late 2015, this album by Israeli trumpeter Borochov has something of the life-story about it for even if the Middle Eastern sound is only really explicit in one track, the appropriately-titled ‘Eastern Lullaby’, there are hints of cultural fusion in other tracks. Surrounded by his tight four-piece band – his brother Avri on bass, Michael King on piano and Jay Sawyer on (decidedly punchily-recorded) drums and percussion – Borochov turns in performances showing his virtuosity and musicianship in equal part. It’s beautifully recorded, though I have some qualms with the fact the star turn is so relentlessly spotlit in the mix. Personally, I’d have preferred more sense of the ensemble playing together, rather than just providing the supporting act.

I’m not exactly sure ultimate fidelity was the aim of this great set, recorded ‘fast and dirty’ at West London’s British Grove Studios, with occasional drop-ins by passing musicians – Eric Clapton on a couple of tracks – and accomplished add-ons of the calibre of Darryl Jones on bass. Rather the intention was to return to the band’s roots, paying tribute to some of the artists influential in their early days: the likes of Howlin’ Wolf and Little Walter, both of whom get more than a nod here. The familiarity with the material shows in confidence and swagger: rough round the edges this may be, but there’s an excitement and vitality about the music-making you may not expect from septuagenarian white boys, with Jagger in very fine voice (and harp) indeed, and Keef as laconic as ever, yet equally always ready with the killer riff. Lovely stuff.

This is the Alpha label debut of Belgian tenor van Mechelen and his period instrument group A Nocte Temporis (flute, organ, cello), set up in 2016. He’s devised a thematically related sequence of eight arias from cantatas by Bach, interspersed with chorale preludes and movements from instrumental works to create a 70m ‘little concert for a Sunday afternoon’ [see the trailer here], which they are touring this year. Be warned: it’s all unremittingly serious stuff! The recording was made last May at the Sainte Aurélie Church, Strasbourg, where the organ is a restored 1718 Silbermann. The performers are each close-set (presumably because of the generous ambient setting).

Jubilo is, says Balsom, ‘a celebration’ of early music by Bach, Corelli (a concerto grosso), Fasch (a concerto) and Torelli (a trumpet sonata with strings and continuo), where she plays both a natural and a modern trumpet. The Corelli is a new arrangement of the ‘Christmas Concerto’ (to which purists might take exception, though somehow the baroque trumpet seems to ‘fit’), while the eight Bach tracks include pieces with organ – ‘In dulci jubilo’, ‘Wachet auf’, ‘Kommst du nun’, etc, from the Schübler Chorales – and with the Cambridge Choir, ‘Jesu, Joy of Man’s Desiring’, sounding a bit rushed here. About half of the programme was recorded at King’s College, and half in the more intimate acoustic of St Jude on the Hill, London. Alison Balsom’s legato lines, varied dynamics and overall technique make this a really enjoyable issue, and one that’s been well produced too.