top of page

A1 - March 11, 1976 I
A2 -
March 11, 1976 II

B1 - March 11, 1976 III

C1 - January 24, 1976 I

C2 - January 24, 1976 II

D1 - January 24, 1976 III

D2 - January 24, 1976 IV

D3 - February 2, 1976 I

Recording Dates, Personnel, Credits

March 11, 1976
Milford Graves: drums and percussion
Arthur Doyle: tenor saxophone, flute
Hugh Glover: klaxon, percussion, vaccine

January 24, 1976
Milford Graves: drums and percussion
Hugh Glover: tenor saxophone

February 2, 1976
Milford Graves: drums and percussion

All music Milford Graves Babi MG Music ASCAP

Recordings: Milford Graves
Transfers and mastering: Joe Lizzi
Lacquers: Kevin Gray
Jacket photographs: © Val Wilmer/CTSIMAGES
Insert photograph: Thierry Trombert
Design: Rob Carmichael, SEEN

Produced by Peter Kolovos and Michael Ehlers


Milford Graves 
with Arthur Doyle & Hugh Glover

Children of the Forest

Deluxe 2LP tip-on gatefold with pigment ink foil stamping featuring photographs by acclaimed photographer and free jazz historian Val Wilmer. Includes insert with new interview of Hugh Glover by Jake Meginsky.

RELEASE DATE: May 19, 2023

SKU: BEA-002, 2LP- $37

Black Editions Archive is ecstatic to announce the newest release in the Milford Graves Archival series, the double LP, Children of the Forest, featuring previously unreleased 1976 sessions with Hugh Glover and Arthur Doyle that re-write the book on Milford Graves' ensemble music of the 1970s. Graves recorded these sessions himself in his legendary Queens basement laboratory and workshop in the weeks immediately leading up to the March 1976 session that, with the same unit, produced what many consider his most iconic album, Bäbi, recorded at WBAI-FM Free Music Store.

Following the death of Albert Ayler in 1970 and up until his storied trip to FESTAC 1977 in Lagos, Nigeria, Graves gigged fairly often as a band leader in the New York Loft scene and traveled twice to Europe (1973, 1974) with duos, trios and quartets comprised of fellow New York City based musicians —almost always with Hugh Glover, and variously including Arthur Williams, Joe Rigby, Frank Lowe, and Arthur Doyle. The three sessions that comprise Children of the Forest date from near the end of this intensive period of grassroots activity by Graves during a peak era of musical & cultural ferment in jazz & Black American Music.

The earliest recordings feature the duo of Graves (drums & percussion) and Glover (tenor saxophone) from January 24th, and Graves solo (drums & percussion) from February 2.  In an interview commissioned for this release and conducted by Jake Meginsky, Glover discusses the mastery of form and execution in Graves’s playing and approach: "It has always been a mystery to me how Cuban drummers in Bata were able to modulate the rhythm and the meter. Well, it takes more than one player to do it Cuban style. Prof (Graves) shows you can do it as one player. The reason he’s able to do it is because he has an encyclopedic knowledge of the rhythms of the Caribbean, rhythms of Africa, plus rhythms of jazz. He can move around without losing the feel.”

The centerpiece of this set is the March 11 session featuring Graves, Doyle on tenor saxophone and fife, and Glover on a rather unusual pair of instruments that would not appear on the Bäbi recording just one week later —klaxon and the vaccine, a Haitian one-note trumpet. Glover: "The klaxon… it's important to keep that tribal possession-state feel... because it’s not a Hollywood gallop. It’s very much about the energy, this gallop. Prof (Graves) talks about that, talking about the low, the galloping as in the Divine Horsemen of Haiti.”

Doyle’s visceral and unrestrained tenor playing on the March 11 session is further evidence as to why his work, especially during this period, has attained mythic status among aficionados of free jazz and even noise music. Graves would later discuss Doyle in Conversations (William Parker, 2011 Rogue Art Books): "There was another horn player I know that really got into it from the gut and he had a certain kind of intellectualism when we performed… that was Arthur Doyle. (laughs) Arthur Doyle would just go into it. I mean really just go into it… something happened there that was beyond the immediate intellectual control of the people who was doing it. It was about just doing it and don’t worry about all these people putting you down. The most important thing was what was coming out of your instrument and how it was effecting people.” Listening to these recordings, that spirit is unmistakable.

The original 1/4 inch reel, labeled “Pygmy" by Graves, including 15 minutes of audio from an unknown documentary on the Mbuti People of the Congo Basin, are among the few tapes we’ve so far encountered from Graves' private archive that seem clearly intended in his conception & sequencing to be an album. For this reason, these recordings are now presented exactly as assembled by Graves, for soonest possible release.

—Peter Kolovos & Michael Ehlers

bottom of page