10 Seconds: Sam Carelse
1. George Gershwin (played by Andre Previn) - An American in Paris (7'41" - 7'51")
from Andre Previn - Previn plays Gershwin (1955)
“ There are so many moments from George Gershwin’s catalogue I could pick, but I think this one has become the most emotionally evocative for me. Gershwin was this classical kid’s gateway to jazz, and looking back, my obsession with his classical works was an early sign that I was going to love the broad church of jazz once I discovered it.
Growing up, I owned André Previn’s Gershwin record made with the London Symphony Orchestra. I’ve picked An American in Paris, specifically the beautiful, languid theme that appears in the middle of the piece. Since seeing the titular film with Gene Kelly and Leslie Caron, it’s been impossible to separate this moment in my mind from the gorgeous ballet sequence, one of the most romantic moments ever committed to film."
2. Sonny Rollins - St. Thomas (0’55” - 1’05”)
from Sonny Rollins - Saxophone Colossus (1956)
"As a child, I remember repeatedly listening to a short clip of Sonny Rollins’ St Thomas featured on some educational software. It must have been one of my first experiences of intentionally listening to jazz. Most of the clip featured the catchy, joyous head, but there was also a tantalising glimpse of the very start of the solo. Looking back now, I realise how extraordinarily well crafted it is. The statement, the space, the building on ideas. It tells a story. The ten seconds I’ve picked are from the very start of the solo, pretty much all I could hear at first."
3. Mariah Carey - Vision of Love (1'04" - 1'14")
from Mariah Carey - Mariah Carey (1990)
“One of the most arresting debuts ever. While the whole track establishes a new style of pop and soul singing, the audacious entry into the second verse is unexpected and startling, especially given how quietly the song begins. Carey takes the melody of the first verse, moves it up an octave and delivers it in a belt that turns everything up to eleven. Even though her singing is quite different from my own style, it’s a reminder of the extraordinary dynamic possibilities of the human voice, and of the importance of using your toolbox wisely to create an emotional performance."
4. Frederic Chopin (played by Vladimir Horowitz) - Revolutionary Etude Op.10 No 12 in C (0'24" - 0'34")
“I love that Chopin was essentially like, “Here’s an exercise to wake up that lazy left hand of yours” , and then proceeded to punch your soul in the gut. It’s often said that Chopin wrote this piece in response to the Battle of Warsaw. If so, it’s an extraordinary illustration of how music allows us to travel through time and feel the emotions of someone who lived 200 years ago. It’s hard to pick ten seconds, but I think this selection captures the ebb and flow between moments of triumph and despondency."
5. Steely Dan - Peg (1’05” - 1’15”)
from Steely Dan - Aja (1977)
“The best track ever, with a form that sneaks in the blues (see also Antônio Carlos Jobim’s Wave). I’ve picked these ten seconds because who doesn’t love singing “PEEEEEEG… BACK TO YOOU” along with Michael McDonald?"
6.Elis Regina and Tom Jobim - Aguas de Marco (3’05” – 3’15”)
from Elis Regina and Tom Jobim - Elis and Tom (1974)
“This song is so hypnotic; it feels like it could keep going on forever. The recording I’ve picked is the best-known version, pairing two towering figures in Brazilian music: Elis Regina and Antônio Carlos (Tom) Jobim, who also wrote the song. I’ve chosen one of the joyful moments when the song descends into silliness and barely suppressed laughter. It’s a little reminder that you can be a skilled musician without taking yourself too seriously or feeling the need to be too polished. Let’s have a ball!"
7. Anita O'Day - Sweet Georgia Brown (Live at Newport Jazz) (3'57" - 4'07")
from Jazz on a Summer's Day concert film (1958)
"I didn’t really get vocal jazz until I saw Jazz on a Summer’s Day. Seeing and hearing Anita O’Day for the first time was like watching Dorothy Gale step into Technicolour. O’Day seemed to possess magical time-warping powers, as well as the hippest voice imaginable. Here was a way to play with phrasing, rhythm and lyrical delivery, and to get loose and subversive with the arrangements. I’ve chosen this moment because it shows how cleverly the arrangement seems to compress and stretch time."
8. 10cc - I'm Not In Love (2’02” – 2’12”)
from 10cc - The Original Soundtrack (1975)
“One of the most ethereal tracks ever. The multitracked vocal parts create a wash of sound behind the lead vocal, an extraordinary recording feat for its time. The effect still gives me the shivers. It’s tough to pick a particular moment, but I’ve gone for the proto-ASMR of “Be quiet, big boys don’t cry.”"
9. Nobuo Uematsu - One Winged Angel (1’14” - 1’24”)
from Nobuo Uematsu - Final Fantasy VII Original Soundtrack (1997)
"I’m outing myself as a gamer here. Thanks to Nobuo Uematsu and his peers, video games acquired seriously good soundtracks. One Winged Angel from Final Fantasy VII is a bombastic, Carl Orff-esque orchestral piece, with different themes all rubbing shoulders. I’ve chosen the choir’s entrance because it was haunting to hear human voices on the game's previously synthesised soundtrack, during the final boss fight with Sephiroth."
10. Greg Phillinganes - Lazy Nina (0’56” - 1’06”)
from Greg Phillinganes - Pulse (1985)
“Non-musicians might think musicians live a charmed existence. The reality for many is a life of travelling, hotels and lugging heavy equipment. It’s easy to get disoriented. Lazy Nina is a warm, fuzzy ode to coming home. It helps that it’s funky, too. This ten-second clip features my favourite lyric. I also have a room with windows on the sea (if you squint)."
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