Ten years ago, Darius Jones flew across the New York jazz scene like a comet. His debut album as a leader, Man’ish Boy (A Raw & Beautiful Thing), was a lung-busting trio date featuring his astonishing alto sax, the richest and fullest sound produced by that horn since Arthur Blythe, and backed by Cooper-Moore on diddley-bow and Rakalam Bob Moses on drums. The music was part jazz, part gospel, and part avant-garde exploration in pursuit of pure sound, uniting at least two generations of free jazz players in collective spiritual exultation. He made two more albums in an easily comprehensible free jazz mode, 2011’s Big Gurl (Smell My Dream) and 2012’s Book Of Maebul (Another Kind Of Sunrise), using pianist Matt Mitchell, bassist Trevor Dunn, and drummer Ches Smith on the latter. At the same time, he was playing in the no wave/avant-noise-rock group Little Women, whose albums Throat and Lung are stunning, and recording two sets of duos — one studio, one live — with Matthew Shipp. A six-year run of work was capped off with one of the wildest creative achievements you’ll ever hear, The Oversoul Manual.