Peter Moore first came to international attention in 2008 when, aged 12, he won the BBC Young Musician competition, still the youngest person to do so. This showcase begins, rather wonderfully for this reviewer, with the variations on Annie Laurie by the American trombone virtuoso Arthur Pryor (1869-1942). Scarcely remembered now, Pryor was Sousa’s soloist and assistant conductor before forming his own band in 1903 and going on to make over 1000 acoustic recordings, including one of his own big hit The Whistler and his Dog, one of more than 300 compositions. Anyway, Annie Laurie will leave you in no doubt about Peter Moore’s mastery of the slide trombone, dispatched as it is with scarcely credible speed and clarity.

Then there’s Gordon Langford’s attractive Rhapsody, written for the great Don Lusher, which moves from serious symphonic and English pastoral to high spirits and music hall. The one damp squib in the programme follows, a languid, lacklustre treatment of the (normally uplifting) hymn tune Blessed Assurance. The single-movement Concertino by the Swedish composer Erik Leidzén (1894-1962) incorporates two (unfamiliar to me) hymn tunes (Christ was the shepherd and I am redeemed) which belie the lively, often larky nature of this brief work (8'22") with its hints of Kurt Weill and the Kit Kat Club.

Moore then channels his inner Tommy Dorsey with the American trombonist’s signature tune I’m gettin’ sentimental over you in an arrangement that is not necessarily an improvement on Dorsey’s own but played with the same mellifluous tone and obvious affection. Next comes the eponymous work that gives the album its title (‘shift’ being the manoeuvre a trombone player makes when sliding those parallel tubes back and forth). Simon Dobson (b1981) wrote his Trombone Concerto No 1 for Peter Moore, who gave the first performance in 2012. This is its premiere recording. It is in three movements (17'55" in all), each in wildly divergent tempos and moods, entitled ‘On Frustration and Confusion’, ‘On Solitude and Longing’ and ‘On Hope and Momentum’. As the winner of three Ivors, Dobson lists his influences as Bach, Stravinsky, Brian Eno, Steve Reich and the London acid jazz and funk band Jamiroquai. The programme ends with a heartfelt Nobody knows the trouble I see, a melody that sits well with the trombone’s character and tessitura, and then, by contrast, Sambezi, the joyous ‘symphonic samba’ that is the final movement of the Trombone Concerto by Philip Sparke (b1951).

This the first time I have heard the Tredegar Band and I hope it won’t be the last. They are a tremendous outfit with a punchy, vibrant sound and crisp ensemble but, for me, they are placed a tad too distantly from the close-miked soloist. Not that such a consideration stops me from recommending this thoroughly entertaining album.