And work through the Practical Method for the Bassoon, by J. Weissenborn method as part of your
acclimation...
I've been off bassoon a couple of years now, and what I have found is that (despite starting on the fag back in high school, purely out of interest in the instrument - I was allowed to take one home over the summers) you've got to keep your hand in on a semi-permanent basis.
Of course, if you have the cash to spare, getting a high quality Fox or Renard horn is the way to go. (I once briefly owned a Heckel - sold it and made a ton on the deal.) But, just like a certain guy named Parker, if you buy the equivalent of a Grafton out of the bassoon world, and get the rest of the rig in good shape, you can make it work.
I try to keep ahead of the need for bassoon in the local theater (or is that "theatre"?) scene, so I know when a show with bassoon is coming up. I then spend some time working back into shape so I'm ready when the call comes. My lead alto is a superb bassoon player (even though one of the keys on his old bassoon was repaired with a finishing nail), so if the show is a pure bassoon operation, he will usually take the part. If it's mixed bass/baritone/bassoon (the three Bs), he'll handle the second part and I'll handle the Bs.
The leg bracket is probably one of the most significant developments in the bassoon world since the invention of the whisper key. Trying to change from baritone to bassoon in four bars of 4/4 time (as you have to do if you go all old school when playing The Pajama Game) will usually end up with a damaged reed at the best, and a hole through your lip at the worst, if using the traditional seat strap. That bracket has to halve the time needed to get hooked up and ready to go.