“Anyone doubtful as to the range of creative possibilities a bassoon-and-saxophone duo might offer should come away from Donut Robot! convinced otherwise. Its virtuosic performances by Fredenburg and Rodriguez show the combination to have as unlimited a potential as a violin-and-piano coupling, the significant difference between them the size of the repertoires associated with the pairings. As this recording shows, Post-Haste Reed Duo is doing its part to make that difference smaller.” - textura, April 2019
Thank you Gapplegate Classical-Modern Music Review for recommending Donut Robot!
“There are album concepts and cover illustrations that grab my attention and I will admit that the art on Donut Robot! (Aerocade Music 010) by the Post-Haste Reed Duo is a favorite.What's wrong with a bit of outlandish humor? Nothing at all as far as I am concerned. All the better of course if the music turns out to be very much worth our ear-time. That is the case here as limber-timbred saxophonist Sean Fredenburg and bassoon stalwart Javier Rodriguez take us on an imaginative journey through six compositions and compositional suites.”
Read the rest of the review on the Gapplegate Classical-Modern Music Review site.
Stephen Smoliar reviews the new Post-Haste Reed Duo album :
“The album consists of six new works, each by a different composer. In “order of appearance” on the album, the composers are Ruby Fulton, Drew Baker, Michael Johanson, Edward J. Hines, Andres Reinkemeyer, and Takuma Itoh. Perhaps the most salient impression left by this album is how diverse these six contributors are in their approach to composition. However, that diversity is reinforced by the virtuosity of the performers.
That virtuosity is evident immediately through the choice of instrumentation. One might think that a saxophone would overwhelm a bassoon. However, the full extent of the album is matched by a wide dynamic range, with just the right balance of the two instruments at any level of loud or soft blowing. Thus, some of the most engaging moments are the subtle ones, such as the shimmering sonorities of Baker’s “First Light,” in which subtlety emerges through microtonal oscillations that demand seriously attentive listening.”