10 Seconds: Part Six (picks 88-107)

19 picks but only 18 different tunes. Had to happen eventually...

1. MOSS FREED (Composer, Guitarist)

Bill Frisell - A Hard Rain's A-Gonna Fall (9'39"-9'49")

From

Bill Frisell - East West (2005)

"In 2005 I was working part-time cataloguing new books and CDs that came into the library at Berklee in Boston. This record came in and the other staff put it on fast. I didn't understand why at the time. This was the first time I ever heard Bill and it changed my life - the sounds, the approach to the guitar, the musicianship, the lack of ego. It blew me away. I still absolutely love the whole record but if I'm ever introducing Bill to someone for the first time, I play them this tune.

For me it's pretty much perfect. The way it builds from obscurity so incredibly slowly, just staying on the back burner and then shifting up, and up again so you can ride it like a wave. At the end I always feel transformed, like I've been on some sort of spiritual journey. This phrase in particular gives me the feeling that my guts are melting. It has a visceral effect. I think it's the fact that so much blues in seeping out of him at this point, just for a moment. Magic.

- Moss Freed

2. ALEX BLAKE (Guitarist)

Burial -Shell of Light (3'28" - 3'38")

Fom

Burial - Untrue (2007)

"These 10 seconds resonate with how my love for music has changed over the years. At this point in the tune, the vibe chances from the prevalent bass and 2step garage influences, to a more heartfelt and somber ambient tone. These 10 seconds feature no drums, only a de-tuned pad with sampled vocals, and many vinyl crackles/lo-fi soundscapes. What I love about this tune is its richness and warmth. The de-tuned pad in C-major creates a sense of longing for me. I also love the it’s placement in the tunes journey. It kind of bounces along creating a subtle sense of tension, for there is no release of harmony. When I first heard this particular moment, I realised that I had been waiting for it to come, without knowing that I was, whilst wishing the section to repeat for longer.

I love how a composer can tease you and control your emotions with subtle changes, without giving too much away. Its an art form that’s really influenced the way I absorb music, play guitar and compose." - Alex Blake

3. SARATHY KORWAR (Drummer, Percussionist, Composer)

Avishai Cohen Trio - Pinzin Kinzin (0'20"- 0'30")

From

Avishai Cohen Trio

- Gently Disturbed (2008)

"This entire album is really special to me. In 2011, I remember transcribing all the polyrhythmic ideas that I could hear. These 10 seconds excited me so much the first time i heard it. By the time you figure out what the bass is doing, the piano comes in and blows your mind. And then the drums later on.

After hearing this record I felt inspired, excited and ready to make my own music. Was lucky enough to see them in concert at the Barbican last year (2019). It did not disappoint. 🙏🏽 Avishai Cohen, Shai Maestro and Mark Giuliana. Thank you for this album." - Sarathy Korwar

4. CARLI NAIMA ADAMS(Singer, Songwriter)

Hiatus Kaiyote - 10 Jekyll (3'43"-3'53")

From

Hiatus Kaiyote

- Choose Your Weapon (2015)

"I first came across Hiatus Kaiyote when I was in uni - for anyone who liked jazz and neo-soul in 2015, this was the must-know band. I absolutely love the groove in this song and the change to half-time in these 10 seconds will ALWAYS having me giving a stank face. HK really become one in their songs, and Nai’s vocals are just completely mesmerizing - she really opened up my mind to all the rhythms and melismas that are possible vocally, and her vocal layering with BVs is just so tasty!. - Carli Naima Adams

5. HEIDI VOGEL (Vocalist)

Jon Lucien - Rashida ( 3'16"-3'26")

From

Jon Lucien - Rashida (1973)

"Jon Lucien’s voice singing Rashida is so heart felt, and emotive.

When he says: “knowing I would run, every time you called. But girl this time you’re wrong...” Then the sad confession of the bridge “when I needed you, you ran away....” The swelling strings. The whole track has beautiful sounds popping in and out and a story being told by the vocals and string arrangement which takes us on a deep but swirling journey. Plucking moments of staccato strings and harp, floating flute, bossa nova guitar, in true Brazilian style. Ethereal backing vocals. It’s so dreamy, it literally transports to a world of romance and yearning. His vocal and delivery is just so perfect. The song and it’s changes from section to section are so transporting. The Rhodes ... the outro. Just love this. And the whole album is totally incredible." - Heidi Vogel

6. TAMAS GYURCSO (Alto Saxophonist)

Branford Marsalis Quartet - Gloomy Sunday (8'53"-9'03")

From

Branford Marsalis - Eternal (2004)

"It's hard to choose only 10 seconds from this song, as the whole composition has a gloomy, dark but somehow very majestic vibe around it. I chose those 10 seconds because in Branford's solo - which is very melodic throughout the whole piece - that's the climax for me.

The song has a history, if you don't already know it I recommend to look it up."

- Tamás Gyurcsó

7. VIMALA ROWE (Vocalist)

Joni Mitchell - The Sire of Sorrow (Job's Sad Song) (0'00"-0'10")

From

Joni Mitchell - Turbulent Indigo (1994)

"First 10 seconds draw you in. Joni Mitchell’s personal lyrics, vocals and backing vocals envelope this tale of Job like she’s lived the battle of the human spirit fighting amongst dread.

Wayne Shorter’s Soprano Sax is intense beauty, it’s just magnificent. I was living alone in Bangkok when I first heard this and felt it to the core. Still engrossed now when I listen." - Vimala Rowe

8. GERMANA LA SORSA (Vocalist)

The Beatles - Because (1'42" - 1'52")

From

The Beatles - Abbey Road (1969)

"Even if I ended up finding my best vocal expression in jazz music, my musical background and inspirations are quite eclectic; that's why my "10 surefire stupendous sonic seconds" come from a Beatles song.

Vocal harmonies and lyrics have always been one of my obsessions and those 10 seconds are for me the perfect example of how the combination of these two elements can reach your soul.“Because the sky is blue, it makes me cry”...so simple and effective. Nowadays, we are so desperate to feel alive, always looking around for new amazing things to do, something that could shake us, coveting great emotions, sometimes looking for them in other people, forgetting what we already have and not being able to appreciate it entirely. But aren't we surrounded by a marvelous and huge nature? The sky is always there to stay in all its inexplicable and intrinsic beauty!

This concept couldn't have been expressed better in music: a minimal melancholic accompaniment... only harpsichord, guitar and Moog...and those vocal harmonies! The story says that George Martin worked out nine harmony parts for The Beatles to sing, but they only had five tracks to record them on. So Lennon, McCartney and Harrison sang together in harmony the whole song. And then “overlaid another three voices, and another three voices, so we had nine-part harmony all the way through.This created those lush vocals...this velvety result...and my heart flutters every time!""- Germana La Sorsa

9. TOMMASO CAPPELLATO (Drummer, Producer)

Toninho Horta - Beijo Partido (1'15"-1'25")

From

Toninho Horta

- Terra Dos Passaros (1980)

"How much more overflowing beauty can be contained in one song? These ten seconds prophecy the lush harmonies and melodies pervading this holy creation by genius guitarist and composer Toninho Horta. Got addicted to the whole album “Terra Dos Passaros” once I discovered it some 20 years ago. Distant worlds and cosmic visions, song after song!" - Tommaso Cappellato

10. RICHARD SWEET (Percussionist)

Fela Kuti - Trouble Sleep Yanga Wake AM (10'27"-10'37")

From

Fela Kuti - Roforofo Fight (1972)

"I was really lucky that my music teacher showed me some of Fela’s music when I was around 12 and I fell in love with his music from then.

This song has such a beautifully haunting melody; it always gives me shivers when I listen to it. This song is very emotional; I think of it as an Afrobeat ballad, it puts me in a pensive mood just listening to the stories that Fela tells in the verses. Each of the stories speak about people who are suffering at the hand of oppressive landlords and the law and I think that it's especially great to hear those messages of empathy now.

The rhythm section is so swinging, just the percussion section with Tony Allen on drums has such a signature feel. The sax solo and Fela’s singing are very melancholic and, for me, give a message full of sorrow and resilience, very pertinent in current circumstances." - Richard Sweet

11. RENATO PARIS (Vocalist, Keyboardist)

Blue Mitchell- Fungii Mama (2'20"-2'30")

From

Blue Mitchell

- The Thing To Do (1964)

"Very hard to choose 10 seconds from this tune - One of my all time favourites. The head is one of my favourite melodies to sing and the whole track bounces in the best way - Feel good music! In all of the solos here they strike the perfect balance between listening to what has been played before and expressing themselves in the way that only they uniquely do - Each solo speaks to you in a different way. Enjoy” - Renato Paris

12. ISOBELLA BURNHAM (Bassist)

Chaka Khan - A Night In Tunisia(4'26"-4'36")

From

Chaka Khan

- What Cha' Gonna Do For Me (1981)

-

"I love this section of this tune! Abe Laboriel on bass is thumping hard and Dizzy is soloing over Chaka’s lush 4 part harmony! It’s really in the pocket and I can’t help but bop my head and give it the bass face!" - Isobella Burnham

13. GEORGIA COOKE (Flautist)

Incognito - Closer To The Feeling (2:56 - 3:06)

From

Incognito

- Tribes, Vibes And Scribes (1992)

"This flute lick gets me very close to the feeling haha.

The first time I listened to Incognito’s ‘Tribes, Vibes and Scribes’ I was 15, and the album played a major part in the discovery of my favourite style of music. Each track on the album has its own hidden gems, with this flute solo being the gold of this track. For a flute player who was at the time uninspired by classical music, Rowland Sutherland proved the flute could evoke excitement and power in a genre not common for the instrument. His playing lifts the music and holds its own. I love it." - Georgia Cooke

14 & 15. JEFF GORDON (Saxophonist, Flautist) + JAKE ZAITZ (Guitarist)

Miles Davis - So What? (Jeff 0'35"-0'45", Jake 1'27"-1'37")

From

Miles Davis - Kind of Blue (1959)

"This is a great example of Miles at the height of his powers and John Coltrane about to unleash his new found prowess under an unsuspecting audience it changed Jazz indefinitely. However, if I had to choose 10 seconds from this recording it would be these ten here because the intro became even more famous than the tune, people would walk around singing that part of the tune especially the bass line. The combination along with the inimitable Cannonball Adderley was magical

If I had to choose 10 seconds from this recording it would be that ten because the intro became even more famous than the tune, people would walk around singing that part , especially the bass line" - Jeff Gordon

"First time I heard this, I didn’t know what hit me! But something clicked, and I found myself drifting along with arguably the most soothing, comfortable and stunning musical statement committed to tape.

It’s the last few notes of Paul Chambers’ double bass riff on top of gently swinging drums by Jimmy Cobb, as they come to a close of the head section leaving it hanging for a moment.Miles has the keys and as he turns them, Cobb picks up the flow, in the most laid back and understated manner just a tad before the opening of Miles’ solo section. And then comes “the crash” - gently executed, and landing exactly at the spot that sets everything in motion with such flair that sounds like a definition of nature. Paul Chambers starts the walk with a descending line when Miles begins telling the story with a few simple words with Bill Evans tightly gelling in with the rhythm section. Breathtaking. Coltrane and Cannonball still sound amazing even when they are not playing.

These six incredible measures set the music on its course influencing generations of artists and explorers. It’s like the alignment of planets that only happens every so often, except you are in control over it with a play button under your fingers. Try!" - Jake Zaitz

16. HARRY CHRISTELIS (Multi-instrumentalist / Producer)

Bill Evans Trio - Alice in Wonderland (5'43"- 5'53")

From

Bill Evans Trio

- Sunday at the

Village Vanguard

(1961)

"This moment is one that has always stuck with me over the years.

It comes at the end of one of Scott LaFaro's amazing solos, as as he plays a beautiful descending phrase that resolves with Bill Evans' piano entrance back into the piece.

The way in which LaFaro resolves his solo, the delicate melody that Evans plays on his entrance, and the incredibly timed but still so impressionistic accompaniment from Paul Motian on drums makes this a moment of pure joy, and for me, represents the essence of great improvised music; musicians creating unique moments to never be repeated by balancing the conviction in their own ideas with that of the rest of the band. It is a moment that rests on the all musicians equally, and highlights their incredibly conversational style." - Harry Christelis

17. RACHEL MUSSON (Tenor Saxophonist)

Lee Konitz - Kary's Trance (0'10"-0'20")

From

Lee Konitz

- Inside Hi-Fi (1956)

"Okay, so I’ve been internally railing against the 10 second limit on this…and so I’ve secretly extended it by a couple of seconds…or so.

But this week (15th April 2020), in this crazy and horrible situation that has recently begun to engulf our world, we lost my all-time favourite saxophone player, Lee Konitz, at the age of 92, to the coronavirus, and these 10 seconds (or so!) - a brief filler before the statement of the head of Kary’s Trance - were the first notes I heard of him. I first purchased this album second-hand around 30 years ago and listening to it now it still sounds a fresh and exciting as it did to me then as a teenager. It’s the combination of his sound and his skill as a linear improviser (lines mostly spanning more than 10 seconds!) that makes him sound, to me at least, so incredibly authentic and true. Unlike some of my other heroes, he stayed on the planet long enough that I managed to catch him live on several occasions, and there was always that sense of him playing with what was available to him on that night - no gimmicks, or settling for time-worn cliches. And sometimes it worked better than others, and I’ve always had a huge respect for that approach - to me jazz at its best - of improvisers fully showing up, and together weaving magic." - Rachel Musson

18. MARIONA DE LAMO (Cellist)

Schubert - An Die Musik /F Schober (poem) V delos Ángeles (vocal) (2.49 -2.59)

Written in 1817

"The first time I heard this recording I was 20 years old, sitting besides my teacher Richard Talkowsky in his hospital bed. We just heard the bad news, and Raul and I asked him if he had any wishes. With his sweet voice he requested we played him this 1957 recording as Victoria De Los Angeles was one of his favourite singers. I watched him in silence holding my tears. There was so much peace and beauty in his eyes, they were shining with a light from within.

The closing piano chords is when I realised he then taught me his most valuable lesson without speaking: To be grateful for having music in my life, because despite the hardships of life, music takes us to infinity.

‘Beloved art, in how many a bleak hour,

When I am enmeshed in life’s tumultuous round,

Have you kindled my heart to the warmth of love, and borne me away to a better world!

Often a sigh, escaping from your harp,a sweet, celestial chordhas revealed to me a heaven of happier times.

Beloved art, for this I thank you!’

(Translation by Richard Wigmore) - Mariona De Lamo

19. JULIA BIEL (Vocalist, Multi-Instrumentalist, Songwriter)

Pharoah Sanders - The Creator Has A Master Plan (3'23 "- 3'33")

From

Pharoah Sanders - Karma (1969)

"The 10 seconds I am choosing is from this epic number on Pharaoh Sanders two-track album ‘Karma’. In fact, it’s a full 11 minutes and 10 seconds of chaotic, anarchic and earthy beauty made up of layered hooks from double bass, tuned percussion and flute with manic harp strums, loose african percussion and piano adding both texture and groove. Free-wheeling drum kit and saxophone soloing provide the top layers of drama. It’s a master class in how much story can be told with two chords and that’s before Amos Leontopolis Thomas’ incredible vocal comes in, with his unique blend of bluesy yodelling and jazz scatting with words that perfectly capture the atmosphere of transcendence in the music.

Hearing this tune in my early twenties really opened my ears to so much about music and life in general and whenever I hear it I feel a profound sense of gratitude and hope." - Julia Biel

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