Black Editions presents the first ever album to feature the meeting of Peter Brötzmann, Milford Graves and William Parker, three of the towering figures in the history of Free Jazz. Recorded in 2002 at CBGB's, Historic Music Past Tense Future reveals a transcendent trio forging and incrediby vital free music.
"The music expresses what it means to be alive... It struts and rails, sings and screams. It confronts fear and anger and transcends them through beauty, sound, and honesty... Nothing in the music happens independently of its relationship to the other parts. In its rush to embrace life —all of it— the music barrels ahead at fearsome speed and with breathtaking urgency. The music changes too quickly for words to keep up." - Ed Hazel
Presented in a deluxe 2LP edition housed in a heavy tip-on gatefold jacket. Featuring original artwork by Peter Brötzmann and notes by Ed Hazel.
Historic Music Past Tense Future is the inaugural release by Black Editions Archive and the first in a series of records that will present previously unreleased recordings featuring the work Milford Graves.
2002-03-29, in the front room of CBGBs, fourteen years after their last performance together, three of the defining musicians in Free Jazz history convened for a third & final time. Peter Brötzmann had once again successfully talked his way into the U.S. without a visa to play this concert (organized by Arts for Art) & concerts with a historic drummer of a different era, Walter Perkins (organized by eremite). On March 31 & April 1, Brötzmann & Perkins recorded their duo album -The Ink Is Gone-.
William Parker had just returned from concerts in Italy with the David S. Ware Quartet. On April 2 & 3 he debuted his “Curtis Mayfield Inside Songs” project in Boston & Amherst. & he still found time to sit-in for the entire March 30 Brötzmann/Perkins Amherst Meetinghouse gig.
Scarcely to be found on bandstands & an even rarer presence on record, Milford Graves was a different story, a state of affairs that in 1995 prompted Thurston Moore to proclaim Graves “a living myth.” Between 1999 & 2015, Graves appears on just six recordings, two of those solo; Brötzmann & Parker combined made half as many records the same week as this gig. It would be another sixteen years before Jake Meginsky’s documentary -Full Mantis- introduced the world outside to the Graves’ multiverse of music, natural science, herbal medicine & acupuncture, martial arts, & visionary cardiology.
The eremite Mobile Unit happened to be in the house March 29. The trio performed on a small riser facing the front door of CBGBs, with Graves’ hand-painted, Orisha-adorned double bass drum kit, captured in its full thunderous glory on this recording, occupying most of the available space.
Peter Brötzmann was steamrolling in the early 2000s. Decades into having earned his soldier-of-the-road title, he was indomitable everywhere with nearly everybody, yet the full expression of his musicality reached even higher planes in the company of equals. While his famous Mount Olympus power is in no way absent here, Brötzmann’s sensitivity & lyricism, attributes that appear throughout his work as a visual artist, were on this special occasion beautifully alive.
The case is just beginning to be sufficiently made for the magnitude of William Parker’s role in Free Jazz at the turn of the century. In 2002 he was already the prime mover of his New York community; as a bandleader & composer he was taking his music in newly expansive directions. As an instrumentalist & improvisor Parker had been playing in the Big Leagues since the 1970s. From the mid-sixties on Graves very rarely played with bassists, he had the low-end covered. From the time the two connected in the mid-1980s Parker was a near constant presence in Graves’ —albeit rather infrequent— ensemble concert appearances. That he found expressive spaces for himself in Graves’ avalanche of rhythm & sound is extraordinary testimony to Parker’s wide-open ears & skills. For this rather hastily set-up recording, Parker’s small amp was placed on a barstool behind Graves’ kit, yet you still clearly feel & hear Parker’s vivid contributions.
By 2002 Milford Graves was four decades into developing &
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