The first work, Yamamba by Jon Deak, is a programmatic work depicting the tale of a Japanese folk character of the same name.  The musical drama will require the listener to reference the liner notes in order to relate the story to the sound, but the music stands on its own even without the commentary. The work is inspired by the serious musical dramatic art form in Japan known as Noh. The work begins with what one would expect from music influenced by Noh, a monophonic solo flute melody utilizing quarter-tone inflections punctuated sparsely by percussive hits and hand rolls and vocalisms on short syllables. The texture is sparse, but not bare, and invites careful attention to all details of the music. In the texture, the instruments alternate and usually do not play at the same time. When the double bass, flute, harp, and viola do play tutti, the effect is forcefully climatic. One of the marks of a master composer is the ability to express a large range of emotional and dramatic content with only a handful of devices. Blossom's spot-on double bass playing and sensibilities as a chamber ensemble player can only serve as a testament to his years served as a member of a "Top Five" orchestra. Blossom, along with the rest of the Cicada Chamber Players, knows where to put the notes and performs the gestures with conviction. In doing so, Deak's dramatic devices paint a story for the listener.

       The next work Poeme, by John Mooney is a composition by an obscure, though not necessarily lesser composer that Blossom met while still living in Milwaukee. Blossom asked harpist Barbara Allen to perform the piano part on the harp. This is a shrewd move on Blossom's part. Although awkward for the harpist, a double bass has an easier time combining with a harp than with a piano and allows Blossom to implement musical lines based on musical choices rather than the practical choices of trying to be heard above a piano. This is especially true when the double bass melody dips down low to the notes of the low E-string. Blossom is to be commended for seeking out and championing a fine work by a composer who would otherwise fade into obscurity. Poeme's long and elegant melodies, introspective textures and colorfully bold, yet unobtrusive harmonies will remind the listener of composers such a Cesar Franck, Vincent d'Indy, and other French Romantics. For Blossom, the work presents technical challenges in its demands of lyricism over a wide range. Blossom adeptly handles the technical challenges and allows the melody to emerge unimpeded.

       Night of the Four Moons by Alvin Brehm is the most adventuresome work on the CD. Scored for double bass and piano, the melodic and harmonic predilections of Night of the Four Moons gravitate away from the familiar territory of a grounded tonality and tertian structures. It is a monumentally difficult work to prepare, and Blossom courageously overcomes the difficulties posed by its angular makeup and its sustained, drawn out melodic gestures that often required disciplined and precise bow control.