‘We would emphasise that this does not purport to be a complete or definitive anthology [but] a reasonably comprehensive and representative cross-section of his work’, the booklet notes to this treasure trove of a boxed set declare. Given its headliner and date span (1941 to 1954) there's really little more to be said in appraising this collection; indeed, this is the kind of set that reviews itself simply by looking at the cast list and the tracks it contains.

Parker is heard (almost) throughout his entire recorded career in all the key settings; as a sideman with the likes of Jay McShann, Tiny Grimes and Slim Gaillard, in quintets with Gillespie and Miles, with strings, Latin ensembles, big bands, the lot. In fact, there's barely a stone left unturned in producing this most magnificent anthology, which really does provide all you need to hear in order to appreciate the altoist's visionary gift to the world. Naming favourites is senseless, although listening for the gazillionth time to 1947's ‘Embraceable You’ it's impossible not to be struck by the sheer lyricism of Parker, whose inventions, far from sounding like the incoherent squawks his detractors liked to dismissive them as, are melody in excelsis. But then the whole of this box is that. Discographers may like to do a bit of nit-picking (just two live tracks: a 1942 version of ‘Cherokee’ and ‘Wahoo’ from the 1950 Birdland gig wth Fats Navarro) but that's by the by. This collection might be better appreciated by anyone who hasn't heard Bird before, its chronological programming telling things as they were when they were. Whoever buys it will be delighted; its every alto sax utterance reminds us of just why Parker continues to matter. Recommended.