A rather short and sketchy profile of New York bassist, bandleader and composer William Parker by Jazz Trail’s Filipe Freitas at least offers some background about the first musical interests of this constantly busy musician. Pegged to a remounting of Parker’s project, Inside Songs of Curtis Mayfield, the interviewer asks the bassist to itemize how this version differs from an earlier one with Amiri Baraka. By inviting poet Thomas Sayers Ellis to read some of Baraka’s texts, beefing up the horn section and adding backup singers for lead vocalist Leena Conquest, he answers. However when Freitas tries to pin him down as to the relative merits of poetry verses music and to list his favourite musicians and albums, Parker does so, but notes that the list changes every day, adding that “all forms of creativity are equal and complement each other.” What is most important, he insists, is how music can heal people. He came to that realization from experience after he decided to make his contribution to the improvised music world at 17, after taking up the bass under the influence of Percy Heath, Charlie Haden, John Lamb, Jimmy Garrison and David Izenzon. Oddly enough though, he reveals that his initial musical education started with trumpet lessons and moved on to playing trombone. But this brass-path was followed even though he was first drawn to Jazz by hearing saxophonists like Paul Gonsalves, Don Byas and Gene Ammons.