Cannonball Adderley Quintet - Little Boy With the Sad Eyes (5'04"-5'14")
- Radio Nights (1968)
“The album was recommended to me when I was studying with Nathaniel Facey at the Tomorrow's Warrior's sessions back in the day and forever remains one of the most memorable alto sax solo entries I've ever heard - really fell in love with the alto more after I heard this album and repeated this solo constantly. The album as a whole is full of incredible artistry - I regret lending the CD I got as a present to a mate of mine as I never got it back, even years later!" - Cassie Kinoshi
“If these 10 seconds alone don’t send shivers through your whole body, I fear you may be dead inside....
As soon as Sam Cooke opens his mouth I can’t help but either smile or break down in tears. The Father of Soul has carried me for as long as I can remember. Through celebration, heartache, love or loss he will always take you home.
Sam Cooke has the incredible power of sharing raw emotion and storytelling without saying what he’s saying?!!! It’s in the sound not the words. I have and will forever return to this song for solace." - Sahra Gure
The Persuaders - Thin Line Between Love & Hate (0'00" - 0'10")
The Persuaders -
Thin Line Between Love & Hate (1971)
"Because...that bass line says it all. 2 bars long and repeats through the whole songs pretty much. As a cellist who grew up playing some early music and getting into continuo and obstinate bass lines I see little difference between ‘when I am laid’ by Purcell and a bass line like this. Simplicity, repetition, groovyness, winding.
The line tells a story upon which everything else can sit on top. I absolutely love bass lines and grooves in all kinds of music and am inspired by them. Often they are what hold the piece together and what shape the mood. In this track the bass line is first played on the piano and feels kinda reflective, but then you know what’s coming and when the bass kicks in the song is off. It’s such a cool build. One of my all time favourite musical moments."
"In the chosen section, Inspectah Deck brings to light several universal axioms. He shows the feeling of “Youth being wasted on the young”, the futility of trying to pass on wisdom to ears too young to understand and lastly the fact that ultimately, life’s greatest lesson is the hardest to accept, but the simplest to voice: “That Life is hectic”.
For me this is poetry to the highest order and is often disregarded because of the hard delivery and raw nature it expresses. It’s that very nature, expressed so clearly here, that defines all great art."- Jason Brown
" I think K-Lone is an exceptional producer & this track just lifts my mood and makes me want to dance around the house. I chose these 10 seconds because I love this variation of the melody. In these ten seconds there's a little riff that only happens twice in the track and i just love it," - Marysia Zofia Osuchowska
"As far as me as a musician, i consider myself a songwriter first. With that in mind, 10 seconds is hard! There's usually a bit before or after the chosen 10 seconds that frames that 10 seconds, and allows the awesomeness. Just 'the' 10 seconds is quite literally 10 seconds out of context. I'm drawn however to those moments within a song, rather than a particular bit of playing or singing. With this in mind, i have very often bored people while squiffy by shutting down conversation, honing in on the background music and giving it the 'mate, mate, listen to this bit!'...
In considering those 10 seconds, my moments are usually from a build up. from a point where the song has broken down, only to reassemble to some state of utter euphoria, and it's the transition that gets me. Therefore, honorable mentions go to 3.17 to 3.27 of Mr November by the National, 3.24 to 3.34 of The Rat by The Walkman, of course the bit in A Day In A Life where they move from John to Paul (so basically George Martin) and, if i'm being absolutely true to myself, i have to tell the reader that the earth moved for the 8 year old me listening to 1.40 to 1.50 of Money for Nothing by Dire Straits (album version). Winkey, smiley face. But! 2.57 to 3.07 of Wolf Like Me by TV On The Radio wins.
I first heard this track on a 'free' CD from some monthly music mag and have been listening almost daily since then. In a way, Wolf Like Me isn't that typical of TVOTR, i like to imagine that it came about from a jam and can only imagine how that must have felt to be part of. I've heard it live in festival fields and mid size venues and that breakdown never fails to blow me away. Not convinced? Check out the live video from Letterman, if that doesn't convert you, you're lost my friend." - Russ Peterken
"One of my favourite riffs of all time - from a Kiwi band called Shihad. This band were massive in NZ in the late 90s and early 2000s - was the first rock concert I went to at 16 years old and left me nearly deaf! This riff is just raw, simple, and heavy as anything. HUGE." - Andy Watts
“This track has been the best company these past weeks. It takes me right into the quietest place within myself, in the space between the thoughts where I linger to live. Moses’ sweet voice, in an eternal melody that keeps looping, becoming more intense each time.” " - Ines Loubet
"I choose the 10 seconds at the end of the opening track of my album "Roots of Unity". The track is called "Hysterical Revisionism". It's a composition of mine which I have revised so many times it became an inside joke in the band! It's also a play on words referring to the tendency of rewriting history by the political opportunists who govern this country, when it's convenient to them. The 10 seconds are between minute 9:30 and 9:40. I choose those 10 seconds because the endings of compositions are often my favourite part, because it's the moment when the musicians tend to let go of the written material. Sometimes they actively try to destroy it: in this case I love how Ivo Neame, Julian Arguelles and Dave Hamblett stretch time and harmony of the piece beyond recognition." - Andrea Di Biase
"Carlos Bica has been a huge inspiration, both as a musician and as composer, since I first heard him with his trio (Jim Black on drums and Frank Mobus on guitar) back in 1996. This track is from their first album, Azul released almost 25 years ago, is still as fresh and contemporary today as it was then.
Listening to the opening of Canção de Embalar feels like a very intimate experience, almost as if you were eavesdropping on someone sharing something very personal. Silence plays as an important role here as the notes themselves. You can hear every single detail in this recording. And not just of the notes he is playing but also his breath, body movement and the space itself. Carlos’s playing is delicate, precise, caring, emotive, meaningful and intentional. An absolutely phenomenal album!" - Pedro Velasco
"I completely fell in love with this album from the moment I heard it.
Devil's Paradise is the first track and it starts with this amazing groove that immediately draws you in. Hemingway has this beautiful sound, particularly on the snare, and that coupled with a simple but asymmetric line from
Mark Dresser on bass makes the whole thing bounce along. It's in an odd time (3 bars of 4/4 and 1 bar of 5/4), but you almost don't even notice because it's so musical and natural. The two of them groove along for a bit before the horns come in (Ellory Eskelin on tenor and Ray Anderson on trombone) with this quirky and very hip tune over the top.
The track sets up the feel for the whole album which has been a big influence on me as it's both avant-garde and groove based, both melodic and abstract. It feels like they're all unafraid to go way outside or play totally 'in' depending on what the music demands. There's loads of interplay between the four of them, and such a sense of joyous music-making. What's not to love?"
"I’ve picked ten seconds from a Coltrane album, but it’s ten seconds when you don’t actually hear Coltrane himself. This moment happens after three minutes of gorgeous, rubato melody, and is the mysterious groove that Jimmy Garrison, Elvin Jones and McCoy Tyner bring in, a snaking, tense feel that leaves you in no doubt that the music is about to take off.
There’s so much in those first five bars or so of time, somehow swinging and straight-eighths at the same time, joyously upbeat and swaggering. Tyner’s chiming bells against Garrison’s hiccuping bassline and Jones’ cymbals – magical." - Olie Brice
Paco De Lucia & Group live at the Germeringer Jazztage (1996)
"The 10 seconds I choose are a transition to a new chapter: after 5 minutes of Jorge Pardo soloing, dialogues between guitars and flute start to appear until fully landing on 6:04, the beginning of a new chapter, a new set of enigmas. somehow, it wasn't until I came to this country that I took a moment to look back and pay proper attention to flamenco music, this is now one of my favourite recorded performances of all time.
Now that we all have time I want to use mine to keep digging through my cultural heritage" - Lluís Domènech Plana
Chick Corea/Return To Forever - Light as a Feather (1973)
"I remember when I first listened to Chick Corea's Rhodes piano comping riff on “Spain” , I was blown away. Percussive interplay, playing drums over an electric pian.... was so new for me at that time !! It was an epiphany.. something I’ve heard before. Then years later I discover the exact same riff on
"When Cannonball Adderley takes the solo baton from John Coltrane in this track, it always sounds like the sun coming out to me. The ability to convey that level of joy is rare. The effect is amplified all the more, in contrast to the delicious dark intensity which came before it." - Phil Robson
"Blossom’s unique voice and sense of humour always makes me smile. I once met Bob Dorough, who wrote this composition here, and he shared so many Blossom stories - one thing I’ll always remember him saying is that she was the most charming and classy women on the scene, which I can always hear in her songs!
I wish more people knew her music because it’s truly amazing! The way she tells a story in each of her songs is simply beautiful. It’s timeless and If she was alive she’d be still hip in 2020!" - Kasia Kawalek
" A friend of mine introduced me to this song when I was younger and is one of my favourites. The song as a whole is Sam Cooke's true experience of the world at the time and his hope for change. I've chosen this section of the song because it feels like the culmination, both lyrically and musically, of the waves of frustration and exhaustion with the discrimination he faced and tells us about through out the song. The vulnerability, resilience, truth and hope in his vocals gets me every time!" - Loucin Moskofian
"One of those musicians who was so far ahead of his time, particularly in the ‘vertical’ way he approached the harmony. The phrasing, articulation, vibrato are just untouchable, and there’s amazing warmth in his sound wherever he is on the horn. His playing is poised but also incredibly technical and inventive.
The ten seconds I’ve highlighted feel like somewhere around the emotional climax of this solo, with a rising figure leading back to the home key that feels like it’s come from nowhere. Sonny Rollins said that solo was ‘so perfect, I can't imagine anything better’!
Incidentally, another ten seconds I thought about for this was from Paul Bley’s solo on ‘All the Things You Are’ on ‘Sonny Meets Hawk!’ where those two both play together – that solo was another harmonic milestone." - Alex Hitchcock