These sessions, from the Nalen ballroom in Stockholm, were recorded in February 1962, and like the recordings from three years earlier and released as a companion to this set as Stan Getz at Nalen, were only di é scovered in 2011. Thus they are not reissues, and taken together, provide a valuable snapshot, not only two great saxophonists plying their craft away from home, but also of the legendary Swedish pianist Jan Johansson. During the three years that separate these dates, Johansson's growth as an artist, both in confidence and technique, becomes quickly apparent on his work with Byas, especially on ‘There Will Never Be Another You’ and ‘Walkin”, with his evenly executed semiquaver runs climaxed by block chords that add moments of real excitement. It is fascinating to contrast his exuberant work here with his seminal Jazz på Svenska, three tracks of which were recorded just three weeks after performing with Byas at Nalen. Here he is the model of economy and masterful understatement, where less does really mean more. Byas was an important transitional figure as ‘swing’ evolved into bebop, an obvious Coleman Hawkins disciple who had absorbed the rhythmic and melodic lessons of Charlie Parker, which can be heard in the long string of quavers in the second chorus of ‘I Got Rhythm’, recorded in duet with Slam Stewart on bass at New York's Town Hall in June 1945 and released here as one of two bonus tracks along with ‘Indiana’ from the same date. Resident in Europe since 1946 until his death in 1972, he had lost none of his verve and swagger, as the Nalen tracks reveal, where he emerges as a mature saxophone stylist whose technique and execution make his often complex ideas sound deceptively simple; and his mastery of the rising line to climax ‘I'll Remember April’ is a joy. And on the evidence of this inspired set, Byas would not be one of those who claimed that European rhythm sections did not swing.