Uploaded October 2021 | Updated September 2026, 2 days ago
Ornette Coleman, Arthur Blythe (alto saxophone) McCoy Tyner (piano)
Benefit Concert for the Urban Coalition, DAR Constitution Hall, Washington DC, May 14, 1982. Audience Recording.
“As part of a wide array of Columbia jazz artists each performing a short set of songs, McCoy Tyner played a solo version of Prelude to a Kiss before being joined by Arthur Blythe for a version of Ruby My Dear. Then to everyone's surprise, Tyner and Blythe were joined by Ornette Coleman (whose Prime Time had performed about a half hour earlier). The trio played Coleman's "The Straight Line and The Circle." This may be the only time that Tyner and Coleman have performed together in public.” (Notes from the anonymous taper) Information from the third issue of David Wild’s Disc'ribe (Fall 1982) suggests that Coleman and Prime Time recorded a version of the piece at the Power Station in New York in 1982 that remained unissued. The piece was subsequently recorded as 'Space Church (Continuous Services)' on 'In All Languages' (1987): youtube.com/watch?v=V9UNsRf9Rus
(The photograph shows Coleman at the Ontario Place Forum, Ontario, Canada, the same year as this performance. Photograph © Gary Lawrence Murphy, via Wikimedia Commons.)
Ornette Coleman, Arthur Blythe (alto saxophone) McCoy Tyner (piano)
Benefit Concert for the Urban Coalition, DAR Constitution Hall, Washington DC, May 14, 1982. Audience Recording.
“As part of a wide array of Columbia jazz artists each performing a short set of songs, McCoy Tyner played a solo version of Prelude to a Kiss before being joined by Arthur Blythe for a version of Ruby My Dear. Then to everyone's surprise, Tyner and Blythe were joined by Ornette Coleman (whose Prime Time had performed about a half hour earlier). The trio played Coleman's "The Straight Line and The Circle." This may be the only time that Tyner and Coleman have performed together in public.” (Notes from the anonymous taper) Information from the third issue of David Wild’s Disc'ribe (Fall 1982) suggests that Coleman and Prime Time recorded a version of the piece at the Power Station in New York in 1982 that remained unissued. The piece was subsequently recorded as 'Space Church (Continuous Services)' on 'In All Languages' (1987): youtube.com/watch?v=V9UNsRf9Rus
(The photograph shows Coleman at the Ontario Place Forum, Ontario, Canada, the same year as this performance. Photograph © Gary Lawrence Murphy, via Wikimedia Commons.)

![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)








