Thollem made something entirely new using used parts created by various trios and mold them into a genuine piece of aural art made by a six performers using the intuition of one.

‘For Mahalia, With Love’ is an inspiring manifestation of the gospel music from Mahalia Jackson long embedded inside James Brandon Lewis.

‘Spontaneous folk music’ accurately speaks to the unpretentious nature of the music that Eri Yamamoto, Chad Fowler, William Parker and Steve Hirsh made.

‘Village Mothership’ is not merely Whit Dickey, William Parker and Matthew Shipp going off to their corners doing their own thing, these are three strongly distinct musical personalities able to interlock with each other while unconsciously maintaining their identities.

Matthew Shipp and William Parker’s ‘Re-Union’ is a set of improv pieces that reveals the true extent of unity of purpose and direction that comes from more than three decades of playing together in nearly every imaginable setting.

‘Mayan Space Station’ is another facet of the multi-dimensional artistry of William Parker. The first listens will surprise, and later listens will uncover that the same man who brought us ‘O’Neal’s Porch’ and ‘I Plan to Stay a Believer: The Inside Songs of Curtis Mayfield’ can absolutely be the brainchild behind these spiritual, loose rock jams.

James Brandon Lewis’ ‘Jesup Wagon’ feels just like the musical embodiment of George Washington Carver.

Big Monitors’ lively cover of “O’Neal’s Porch” is all about the exhilaration of freedom coupled with the majesty of tradition. That’s probably the best way to honor William Parker.

Mat Walerian’s latest Okuden project is his most ambitious yet and when you understand the sweeping, cutting-edge careers of his sidemen, you see an artist whose ambitions matches theirs.

Being around William Parker has left a deep impression on drummer Jeff Cosgrove, and some of Parker’s creative flair has apparently rubbed off on him, too.