Uploaded October 2008 | Updated September 2026, 6 hours ago
Archie Shepp's 'Attica Blues', released on Impulse Records in 1972, is one of his most popular and politically conscious records, concentrating more on funk, jazz and soul stylings than on the avant-garde explorations for which he became such a notorious figure. Seven year later, he revisited the music featured on that album, along with several new pieces, for an expanded big band line-up. Their 24/10/1979 concert from the Palais des Glaces in Paris was released as a double-album by the French Blue Marge label. This is the closing track on the CD re-issue, which can be ordered from http://futuramarge.free.fr/
"La la la la la,
la la la,
La la la la la,
la la la...
Can't you hear me...
I got the feeling that's something's goin' wrong,
and I'm talkin' bout the human soul...
If I could have had the chance to make one decision,
every man could walk this earth on equal condition...
every child could do more than dream on a star...
bringing voices to a world that's gettin' old...
Do I worry do I worry yes I worry 'bout the human soul, yeah...
I hear voices, I see people,
I hear voices, I see people,
I hear voices of many people, sayin'
Everything ain't everything
La la la la la,
la la la,
La la la la la,
la la la"
Archie Shepp (tenor & soprano sax), Irene Datcher, Akua Dixon, Terry Jenoure (vocals) Ray Copeland (conductor), Kamal Alim, Roy Burrowes, Charles McGee, Eddie Preston, Malachi Thompson (trumpets), Charles Greenlee, Dick Griffin, Ray Harris, Charles Stephens, Steve Turre (trombones) Marvin Blackman, Marion Brown, Patience Higgins, John Purcell, James Ware (saxophones & flutes), Art Matthews (piano), Clyde Crymer (synthesizer), Brandon Ross (guitar), Candice Greene, Terry Jenoure, Carl Ector et Akua Dixon (strings) Hakim Jami (bass and tuba), Avery Sharpe (bass), Clifford Jarvis (drums), Kevin Jones (percussion)
Archie Shepp's 'Attica Blues', released on Impulse Records in 1972, is one of his most popular and politically conscious records, concentrating more on funk, jazz and soul stylings than on the avant-garde explorations for which he became such a notorious figure. Seven year later, he revisited the music featured on that album, along with several new pieces, for an expanded big band line-up. Their 24/10/1979 concert from the Palais des Glaces in Paris was released as a double-album by the French Blue Marge label. This is the closing track on the CD re-issue, which can be ordered from http://futuramarge.free.fr/
"La la la la la,
la la la,
La la la la la,
la la la...
Can't you hear me...
I got the feeling that's something's goin' wrong,
and I'm talkin' bout the human soul...
If I could have had the chance to make one decision,
every man could walk this earth on equal condition...
every child could do more than dream on a star...
bringing voices to a world that's gettin' old...
Do I worry do I worry yes I worry 'bout the human soul, yeah...
I hear voices, I see people,
I hear voices, I see people,
I hear voices of many people, sayin'
Everything ain't everything
La la la la la,
la la la,
La la la la la,
la la la"
Archie Shepp (tenor & soprano sax), Irene Datcher, Akua Dixon, Terry Jenoure (vocals) Ray Copeland (conductor), Kamal Alim, Roy Burrowes, Charles McGee, Eddie Preston, Malachi Thompson (trumpets), Charles Greenlee, Dick Griffin, Ray Harris, Charles Stephens, Steve Turre (trombones) Marvin Blackman, Marion Brown, Patience Higgins, John Purcell, James Ware (saxophones & flutes), Art Matthews (piano), Clyde Crymer (synthesizer), Brandon Ross (guitar), Candice Greene, Terry Jenoure, Carl Ector et Akua Dixon (strings) Hakim Jami (bass and tuba), Avery Sharpe (bass), Clifford Jarvis (drums), Kevin Jones (percussion)
![Alan Bush - Relinquishment (1928)
Alan Bush - Relinquishment, Op. 11 (1928)
Alan Bush (piano)
BBC radio broadcast
“The tonality of the piece is A flat mixolydian. The first section is in three-part counterpoint; the lower voice parts introduce notes which contradict the modal basis of the melody. The harmonic idiom is that of West European twentieth century style, but quite free from Schoenbergs repetitive use of thematic material. The middle section is built up from rapid and contrasting rhythmic figures, developed almost exclusively from seconds and fourths. In the coda section a recapitulation of the opening appears above a tonic pedal.
The title is derived from the feeling expressed of deep regret that a particular course of action had to be consciously abandoned.” (Alan Bush)
“Bush started to engage with aspects of modern music from Continental Europe in the late 1920s. [...] this very period was significant for Bush both musically and politically. The year 1928 – in which he composed Relinquishment – was when Bush moved to Berlin and began experiencing what [Luigi] Nono called ‘the historical, cultural and political importance of Berlin in the years before 1933’.
Having already begun working with the LLCU (London Labour Choral Union) in 1926, alongside his fellow English communist composer Rutland Boughton, Bush sought out both radical music and radical politics in Berlin. He attended both the Berlin premiere of Stravinsky’s Oedipus Rex in 1928 and a performance of Brecht and Eisler’s masterpiece of political theatre Die Massnahme. As his fellow student in philosophy, Egbert Hildebrandt, would later attest, such outings ‘were always the occasion of serious discussions on fundamental artistic and aesthetic questions and on problems of world outlook, over which we struggled to come to a clear understanding’. Nor was there an abrupt division of music and politics in Bush’s [...] Radical politics did not supplant modernism for Bush; rather, he discovered them at the same time within a cultural discourse with which modern music and politics were constantly associated.”
(Joanna Bullivant, Alan Bush, Modern Music, and the Cold War: The Cultural Left in Britain and the Communist Bloc) Alan Bush - Relinquishment (1928)](https://i.ytimg.com/vi/ilNzBlUUDFI/mqdefault.jpg)









