This was one of the earliest bootleg albums of live Parker, appearing in the early 1960s and preceded only by two items on Mingus' Jazz Workshop label (Bird At St. Nick's and Bird On 52nd Street), three volumes of airshots on Le Jazz Cool and Bird Is Free, the first issue by Charlie Parker Records. Given the scores of subsequent releases and their often inferior audio, these Swedish wire-recorder efforts stand up quite well. Dating from Bird's second (and last) European jaunt, they have acceptable sound-balance and not too much background noise, while the editing-out of off-mike solos is well done.

Significantly, the local musicians in the two overlapping groups already displayed considerable knowledge of the altoist's music. In particular trumpeter Ericson, though Swedish-born, was on a fairly brief return home from a high-level USA career that lasted from 1947 through to the 1990s, his spirit and invention enabling him to hold his own, both in solo and exchanges with Bird. There may be nothing absolutely essential here, but there are great moments from Parker (for instance on the second ‘Cool Blues’) and great enthusiasm from the audiences.