This collection of 48 sides made with nine different groups for the small Aladdin company (plus one triosession with Nat Cole and Buddy Rich for Norgran) is an identical issue (even down to the artwork) to a 2014 release on the Phoenix label. That said, it is a fascinating set, even if the claims in the album notes that these sessions post-date Young's army service and imprisonment after being court-martialled for drug use are not accurate, in that they actually span both that unfortunate period and his 1944 return to the Basie band. If we pass swiftly over the accomplished if rather lightweight 1942 trio with Nat Cole and Red Callender, then the story does indeed pick up in December 1945 extremely soon after Young's discharge. The arrangement of the tracks is not chronological, and the dating in the notes is at variance with published discographies, so it is hard to use this set to get a handle on Young's rehabilitation (or lack of it) without dotting about in the collection. Yet what we do get is a sense of Young hooking up again with some of the musicians who shared his army service or imprisonment, and enjoying the freedom of making music again outside that set-up – such colleagues including drummer Chico Hamilton and guitarist Ted Briscoe. A quintet with Vic Dickenson (who had left Basie at the same time as Young initially departed from the band) seems to be a joyous reunion, particularly with the sparkling piano of Dodo Marmorosa. The high point is a session with Howard McGhee, Dickenson, and altoist Willie Smith, which, with some lightly scored charts, gives Young the kind of textured backing against which he soloed most brilliantly, as exemplified by a sparkling ‘Paper Moon’ and a version of ‘Lover Come Back to Me’ where both solos and chart slip in and out of the recognisable melodic structure. A set with ex-Basie singer Helen Humes and a quintet with pianist Gene DiNovi and guitarist Chuck Wayne also stand out. So by picking carefully through the set to listen in sequence, and taking note of quite subtle changes in Young's playing, we can indeed hear a considerable rehabilitation, as well as getting a sense of his more normal pattern of work, in those weeks when he was not being given the chance to shine in Norman Granz's JATP tours, which began during this period.