Learning the techniques for getting consistent results with one paper is probably more important, initially, then the choice of paper.
Can't agree more : switching from paper to paper and between many kinds of output makes initial learning much more complex.
It could be possible to settle on 2 papers, one matte and one "glossy" in the broad meaning (ie that takes glossy ink), but that's not as easy as with one paper.
I'd advise you to begin with a cheap paper if budget is any concern, as you'll have to experiment quite a bit and need not to hesitate to print one more test proof.
Luster is certainly not a bad choice on the glossy side, alternatively here in Europe the 4stars or 5stars Epson glossies are cheaper due to frequent BOGOF sales.
In Matte, the Epson 5 stars Matte is not bad either ; I use it as my workprint paper, as it's a tad on the dull side it ensures you just pick right images and are not distracted in editing by some additionnal eye-candy coming from the paper and not from the image. It's hard to find a cheaper one without stepping into the office paper range ; nice papers as Hahnemuhle ones are much more pleasant but much more expensive too.
Once you passed through that first step and feel you ar reasonably comfortable to predict what will be the output of this or that image on paper,
then get all the sample packs you can.
I really can't think of any rule, but I'd venture to say one aspect of the paper choice is a matter of adapting the paper texture to the image content, specifically to the textures that are in the image.
Example :
In this photo, a watercolor-like matte paper (hahnemuhle german etching for demonstration purposes) does really well with the sky : the grainy textures echoes a bit the larger-scale clouds textures, and moreover this paper grain kinds of whispers "this could be a watercolor painting" which goes well with not-too-figurative subjects.
It may well be dependant on inks used (InkjetFly inks for me), but I also feel that good matte papers as Hahnemuhle's ones go better with some 'quiet' (muted?) colors, giving them the subtlety needed. Otoh, bright subjects and vivid colors need more of a glossy output (baryta-like papers come handy here) to give them the punch they deserve. Your mileage may wildly vary here!
However, in the given example the paper texture does interfere with the architectural details, and just does not fit with the geometrics patterns of the stucco ceiling under the arches.
I haven't some at reach now to test the assumption, but I'd say the best paper for this image and to my taste would be a smaller-texture matte paper like the 'plain' Hahnemuhle Photo Rag.
