Were it not for the efforts of Gilles Petard's now dormant French-based Classics label in documenting the recordings of Don Byas in chronological order, then the great tenor sax man would have almost become a mere historical footnote. Yet Byas was once regarded as one of the great tenor stylists along with Coleman Hawkins, Lester Young, Ben Webster, and Chu Berry. Indeed, it was Don Byas who Basie chose as Lester's replacement when Prez went solo. Similarly, it was Byas who was Dizzy's frontline partner when unveiling the very first bebop band on New York's 52nd Street. In formulating his impeccable swing-into-bop style, which owed as much to Coleman Hawkins as it did to Art Tatum, Byas was by all accounts a formidable opponent in the most cut-throat jams where he frequently emerged the eventual victor. However, following a 1946 European tour as a member of Don Redman's Orchestra, Byas chose not to return to the States. His decision to put down roots in Europe, may have removed him from the public eye, but it seems that as a big fish in a much smaller pond, he went on to enjoy a far better quality of life than had he remained in America. Settled in Europe, he seldom had to ward off young guns trying to make a name for themselves, instead he set his own agenda which included a prolific recording career and as much live work as he could handle (including a season at Ronnie Scott's). Though from time to time, having the likes of Billy Taylor, Art Simmons or Mary Lou Williams at the keyboard greatly upped a session (a defining interpretation of ‘Laura’ gave him a minor hit), but more often than not he was accompanied by less than adequate locals. Nevertheless, such was the majestic quality of his solos that he always shone brightly. And for those with an unhealthy fixation with Coltrane and his many copyists, just check out the boppish ‘New Musical Express’ – one of six fine tracks featuring the great Mary Lou – to discover that there's so much of value among these recordings.