Geoffrey Bush is a much respected composer, with a very decent list of recordings to his credit; even so, I do not recall that any one of these particular pieces has been available before.
They are an agreeably varied selection, in style no less than in instrumentation. 'Wind and Piano' might seem a fairly unpromising association; it is certainly one that can seem wooden. Not here, though; taking the risk, successfully, are the Dialogue for oboe and piano (though the rather uncharacteristically dissonant chorale in the middle may not seem so attractive as the rest of the conversation!), and the Trio for oboe, bassoon and piano; this has naturally more scope for colour, which is made especially effective by very smooth oboe- and bassoon-playing. It has, too, great variety of texture, because it was written that way; and the risk of over-dry sound is very largely avoided. In any event, the mind will be centred on the music itself, which is very rewarding.
The two remaining pieces are for the standard woodwind and horn quintet, dispensing with piano altogether. The Quintet itself is colourful, but also more than that; it traverses a considerable width of expressive territory, quite a major work for the combination. It is certainly a worthwhile tribute to Prokofiev, a tribute which Bush overtly paid in its writing. The relative expanse of this Quintet leaves room only for two short, light movements paying homage in turn to Matthew Locke. Originally scored (by Bush) for brass, these are so effective in their woodwind arrangement that it seems impossible to believe that they are in any way inferior thus to the original version.
Every piece is helped along by the highest possible standard of performance: a model of woodwind and horn playing, directed by the composer, and so self-evidently in the right style for each piece. Every piece is helped along, too, by a very good quality of recording; of warm tone, great clarity, and very good balance. Possibly the bassoon could have been a little more forward in the Trio; and possibly the second side will be found to be recorded at a slightly higher level than the first. But if this is a repertoire you feel like exploring do not hesitate. You will in any event have the advantage of the composer's very good piano-playing, and of his obviously authoritative notes on the music.'