Laurence Perkins has made a number of very successful recital records over the years and a new one is always welcome.

The selection of music here is, as usual, very well-chosen, mostly British, but bookended by a pair of South American inspired pieces: Tango by Michael Norris for bassoon trio and—the real thing—Ciranda das Sete Notas by Villa-Lobos, accompanied by string players from the City of Birmingham Symphony Orchestra conducted by William Goodchild. This latter is a persuasive performance of a piece which is sometimes ungratefully written for the instrument. Laurence's flexibility of production is shown to advantage here and the whole ensemble plays with commitment. The structure of the work is carefully controlled and the final scale is reached with a sense of triumph rather than exhaustion as sometimes occurs.

The Tango is one of a number of pieces on the album for bassoon trio or quartet and Laurence has chosen excellent colleagues who all play with a real sense of ensemble. Occasionally the balance does not favour Laurence and he is sometimes drowned out by the enthusiasm of the lower parts. One of his great strengths is a very wide range of dynamics and his pianissimos are truly impressive for their control: this aspect is not always matched by the others. One of the pieces here is the theme tune by Joseph Horowitz for the TV show Rumpole of the Bailey—the original players on the recording were William Waterhouse and Martin Gatt (bassoons) with Nick Reader on contra. Nick relates that he was severely criticised for rattly keywork (forbidden on a session), which was strange as Nick always kept his contra in top condition. On inspection it turned out to be one of the others who was the culprit and not Nick's contra at all. I mention this only because one of the bassoons in the ensembles throughout the disc has a very rattly key.

Bearing in mind the rickety track-work of the railways in the 'top left-hand corner of Wales' it's difficult to believe that they run at the speed that Ivor the Engine is played here. Vernon Elliott's original recording is at a much more gentle and authentic pace; however this performance is characterful and well played.

There follows a very polite and refined interpretation of Alan Ridout's Pigs which I have usually experienced very late at night at the end of a thirsty day on a chamber music course, but perhaps my version would not be suitable for public dissemination.

The more serious pieces on the CD include Gordon Jacob's Suite (with the Carducci Quartet) which is a gem—Laurence's refined staccatos and range of dynamics are enviable—and is followed by several unusual items with the ever-sensitive playing of pianist John Flinders. Sauguet's Barcarolle with harpist Eira Lynn Jones is reminiscent of the excellent 1983 recording by Luc Loubry (basson) and Rachel Talitman (harp), which includes the Saint-Saëns Sonate and deserves to be better known.

Robin Walker's Twilight, a substantial solo work from 2005, lasts nearly seven minutes so is a valuable addition to the repertoire; and Laurence includes his own atmospheric composition Darkness at Derwentwater which demonstrates both impressive control at low dynamics and a challenge to stamina.

This CD is another very successful piece of work from Laurence Perkins who has always remained individual and characterful. The playing is full of commitment and I recommend it highly. The recording quality from the Hyperion team at the wonderful Wyastone Concert Hall is excellent throughout.