How best to honour the memory of that Gypsy legend Django Reinhardt? The most common response — and it’s a perfectly valid one — is to produce facsimiles of the Hot Club de France. Reinhardt’s ghost also walks the earth in the shape of the virtuoso Biréli Lagrène, while the success of the annual Midlands festival L’Esprit Manouche proves that the spirit of Gypsy swing burns as brightly as ever.

The young members of Trio Gitano take a more formal approach, yet one that produces equally interesting results. Strictly speaking, this is not a jazz group at all, and Django represents just one part of the repertoire. Jamie Fekete, Sophie Johnson and Sam Slater still have one foot firmly planted in the classical tradition.

Their debut album, one of my favourites of last year, patched together a bewildering but thoroughly engaging mix of styles, from flamenco to Dave Brubeck and the intricate Baio de Gude, a dazzling piece by the Brazilian Paolo Bellinati. I’ve long considered myself allergic to cover versions of that Classic FM warhorse, the Adagio from the Concierto de Aranjuez, yet the Trio’s Miles-ish treatment — graced by the trumpeter Bryan Corbett — won me over in the end.

What sets the group apart is that, although the emphasis is on precise ensemble work, personality still shines through. Johnson’s poise and reserve make an intriguing foil to her more freewheeling partners. Together, they were perfectly suited to the task of giving “Djangology” an intelligent but full-blooded makeover.

If one or two of the other more traditional items — such as the opening Saeta — had a slightly generic quality to them, the new arrangement of Horace Silver’s Song for My Father was wonderfully elastic, the funky pulse handled with enormous delicacy, helped along by some unobtrusive flamenco figures. At the close of the set the players plunged headlong into Paco de Lucia’s Entre Dos Aguas. Stylish, very stylish.