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If you play clarinet in an orchestra, the bassoon is your best friend. That rich and deeply grained sonority forgives a multitude of pitch variances; a well-supported bassoon sound is a perfect colour complement to the whingeing voice of its single-reed neighbour. So immediately I must declare a bias in this commentary on Come Closer, featuring American bassoonist Michael Harley playing the music of several of his colleagues from the University of South Carolina and beyond.
Listen to this album. Just go out and buy it and put it on and marvel at the title track by John Fitz Rogers. A quartet performed in multi-track by Harley, with definite echoes of Reich, Adams and Glass, it nourishes the ear, never tiresome, always delightful. Precision marries beauty. In the following piece, Miphadventures by Stefan Freund, we’re treated to a blues-infused dialogue between bassoon and piano (played with sympathy and guts by Phillip Bush). An introductory arioso sets the stage for a swinging dance in a stylish syncopated four to a bar. This is Americanism, not Americana. It’s never hackneyed, simply enjoyable. Harley allows just the barest hint of jazz inflection, which is good. Too many bends induce nausea.
If you begin to think this all sounds too like easy listening, stay tuned. The third track will satisfy your wish for tonal exploration. Alarums and Excursions by Carl Schimmel bills itself as a Puzzle-Burlesque, but really leave off the brain work and just gloat that here’s something very grabby that also avoids major and minor sonorities.
I could go on. You don’t need me to. You need to get this disc.