These three reissues, identified by their recording location, all carry polite warnings about the sound quality. The performances from Boston's Hi-Hat were taped from broadcasts, while the Rockland Palace material (first issued partially as Bird Is Free) and that from Café Society were captured at the venues, respectively by Chan Parker and one Bill Hirsch, who also did the Charlie Parker & Fats Navarro set (reviewed this month by Simon Spillett). Like the last-mentioned title, the Café Society and Rockland Palace discs are reissues of the equivalent albums released in 2008 on the RLR label, even sporting the same booklet notes – except that Café Society adds a single seven-minute jam-session track on which Parker doesn't appear.

Frequently amazing, this music reminds us that Bird seldom fell below his own level of excellence, but also had moments of relaxed invention which might have eluded him when recording officially. This was true despite sometimes unpromising settings, such as the soon-to-close Café Society which expected him to play his recent strings-accompanied hits ‘Just Friends’ and ‘April In Paris’ (two versions of each here) plus other ballads, with his regular quintet but without the string ensemble. We get some nice Kenny Dorham and casual brilliance from Bird, but he only really digs in on a long ‘Lover Come Back To Me, with clarinettist Tony Scott and others joining in.

Rockland Palace was different, a famous Harlem venue hired out for a political event, at which Paul Robeson sang and Bird did have his strings. Though they play on most tracks, they're more distant than on their albums and the altoist is noticeably looser than in the studio. But, significantly, each set includes one or more up-tempo tune and, with the notable support of Max Roach, Parker lets loose on ‘This Time The Dream's On Me’ and the sensational four-and-a-half-minute continuous alto solo on ‘Lester Leaps In’ (the version used in Clint Eastwood's movie). The bonus tracks are from Birdland broadcasts, the best being two fast workouts with Duke Jordan on piano.

Bird's visits to Boston's Hi-Hat produced at least eight broadcasts, most previously heard on an Uptown CD and two on Fresh Sound. (Your researcher notes that three tracks which were edited on Fresh Sound and with incorrect personnel are now issued complete, without comment.) Reproduction varies considerably, the best and longest airshot having 40 minutes of the guest rhythm-section of Mingus and Haynes with excellent locals Gordon and Twardzik. Otherwise it's all locals and there's much duplication of tunes, of course, but this hardly matters when Parker oscillates between acceptable and fantastic. The closing nine minutes of him fronting the Kenton band form an interesting contrast and, unless you can find the Uptown CD, you should hear this extended compilation.