Few people have done more than Laurence Perkins to promote the bassoon as a solo instrument, whether in orchestral music, as an encourager of young people to take it up, and the making of enjoyable and varied recordings featuring the bassoon’s many voices.

What he doesn’t do is send up the instrument. What he does do is show its many moods, from witty to sombre, illustrating all aspects of the funniest-looking and funniest-sounding family of instruments of them all, but one that he readily proves deserves to be taken seriously, even if sometimes it’s being taken seriously to have some fun.

Like in Honey-coloured cow, composed by Ruth Gipps while a student at the Royal College of Music in the 1930s. It’s a fine piece, ending with a delicious ‘moo’, and deserves its long survival.

Perkins proves that the bassoon can immediately establish its presence, and needs very little time to make an impact.

The delightful signature tune for Ivor the Engine, which Perkins includes here, lasts less than a minute, and his version of the gorgeously pompous introduction to Rumpole of the Bailey is only one minute 20 seconds. It was as long ago as 1975 that the series appeared. As a newly qualified barrister, I recall seeing the first episode.

Perkins never takes the mickey out of his instrument, merely explores its extraordinary range, which goes well beyond the satirical. Villa-Lobos, South America’s most outstanding composer, who wrote more than 2,000 pieces in his long career, contributes here a so-called round dance, which lasts 12 minutes, and is irresistible in its range. It’s a real discovery.

Indeed, as well as humour, Perkins is very good at showing his instrument’s ability to create moods, not least in his own piece, Darkness at Derwentwater.

Do invest in this delightful little disc. Hours of fascinating listening await.