Legendary percussionist Milford Graves performed a solo concert Thursday night at Bezenson Concert Hall in the Fine Arts Center. Those lucky enough to be in attendance (many eager would-be audience members were stranded outside the space) witnessed a resounding demonstration of why Graves continues to be such an important figure in the improvised music world.

Graves’ virtuosity is astounding. The 62-year old musician played at an intense energy level for close to an hour-and-a-half without giving any indication of fatigue. He improvised a lengthy karate-like dance, which looked like it might have been difficult for even the most agile dancers to execute. He spoke at breakneck speed about the importance of reciprocation in the performer-audience relationship, his own affinity for the “New England Feel,” and even about his close friend in the audience who provided a collection of gongs for the concert. Graves sang in different languages, skipped around the stage with large a gourd shaker, had an older audience member play rhythms on Graves’ talking drum, and at one point draped a willing student over his shoulder, carrying him onto stage while playing and singing. The concert was an event, and the energy that Graves emitted was intoxicating.

The concert was the first in a series entitled “Solos and Duos,” and a great start to a season that also includes an Oct. 9 performance by Sunny Murray and Sabir Mateen, and a Nov. 20 performance by Sonny Forunte and Rashied Ali. Residential Arts, which is producing the concerts has grouped together for this series some of the founding members of the 1960’s era New York Free Jazz scene. Graves was a key player in the radical politics and musical experiments of that time, and the concert on Thursday showed his continued interest in global sounds.

Graves held court at the concert, communicating with his music an urgent sense of the importance of spirituality. His playfulness and lack of self-consciousness broke down the barriers of intellectualism that are normally associated with musical experimentation. In their place Graves left a strange energy of confession. One had the sense that Graves was sharing his most intimate secrets with the audience and wanted to encourage the audience to do the same.

If there was a problem with the concert, it was only that more people couldn’t have attended. To keep Mr. Graves’ music for only a select few is a shame. It was apparent from last week’s concert that his music has something to offer everyone. It is likely he would say that everyone has something to offer him, as well.