Rahsaan Roland Kirk - You’ll Never Get To Heaven (1'00"-1'10")
Rahsaan Roland Kirk
- Bright Moments (1973)
"I’ll never forget the first time I heard this song. It had this churning and chord movement filled beginning that sounded like the meanderings of a new life. Complex and swirling powerfully, the great Rahsaan Roland Kirk blares his horn and leads the chorus of Creation into the cosmic dance once more. The magic and whimsy of the pianist answering the urgency of his call.
The time marker I chose is the sweet release. The moment when the melody settles into itself certain of its course. No matter where it goes now the song will come back here and the hearts of all who listen will rejoice just a bit each time. Like a gift, that line comes in releasing the tension, soothing the spirit preparing the listener and the players to rise once more soaring to great heights; literally reaching for heaven. Jumping, leaping, stretching ourselves thin, we reach to the skies in hopes of ascending beyond what we know but when you know yourself to be a valuable part of Gods creation you don’t leap up and look out THERE for God, you know that it is within. To me, that’s the simple reminder this song gives to me. Even the song title You’ll Never Get to Heaven is a reminder to look around at the ground beneath your feet, see the flowers bursting open for Spring, hear the soft sound of your lover sleeping and rejoice cause we may never know a joy more complete." - Jimetta Rose
Mahavishnu Orchestra - You Know You Know (3'20"- 3'30")
- The Inner Mounting Flame
"This track probably scrapes first place of all time for me. The space and contrasts of sound and dynamic throughout, embrace me when listening; you really feel the moment in the room. Billy Cobham kills it too in the drums department. This song has it all for me." - Theo Howarth
Kenny Burrell & John Coltrane - Why Was I Born? (0:45-0:55)
Kenny Burrell & John Coltrane (1958)
"This track in particular is actually one of my favourite recordings of Coltrane. So simple and absolutely beautiful. These ten seconds represent all the beauty of Coltrane's sound and his ability to leave your emotions in tatters with just a few notes." - Rachael Cohen
Art Blakey & The Jazz Messengers - I Remember Clifford (4'03" - 4'13")
Art Blakey & The Jazz Messengers – Olympia Concertoni (rec 1958, released 1960)
"I found it difficult to choose just 10 seconds from this recording, as every note that Lee Morgan plays throughout the whole performance is indescribably beautiful. I chose this particular excerpt because in the short space of 10 seconds, he takes you on a journey through fire, passion and poignant melancholy - a heartfelt elegy for Clifford Brown, and 10 seconds that remind me of the power and beauty of jazz music every time that I listen to it!"
Branford Marsalis 4tet + Wynton Marsalis - Knocked Out the Box (1'04"- 1'14")
Branford Marsalis Quartet
- Mo' Better Blues OST (1990)
"I picked these 10 seconds because this was visually and audibly one of the most heart wrenching scenes to watch. Denzel’s character (trumpeter-Bleek) was on stage playing a very high energy up tempo solo, while his childhood friend was being beaten up in the back alley for not paying his gambling debts. When Bleek is told this is happening, he runs off stage to go help. Trumpet in hand, he confronts the men who are brutalising his friend, when all of a sudden they take his trumpet and beat him up with it. They beat him so bad that it ends his career. A little dark, I know, but very thought provoking.
Funny enough, the whole soundtrack was written and performed by Terence Blanchard on trumpet, except for this one tune. I love Terence’s playing, but I guess Wynton was called in to bring that extra bit of fire needed for such a vital moment in the story. Or maybe he was ill that day." - Jay Phelps
Kamasi Washington - Street Fighter Mas (4'07"-4'17")
- Heaven & Earth (2018)
"This song is celestial. It will no doubt be used in a big film soon - the visuals are already a film of its own. There are so many quality moments, but the climax soothingly creeps up on you in these ten seconds." - Lettie Leyland
"I have to go with the first that came to mind. For me, one of the most inspirational bass moments ever. Its not a solo as such, more of a breakdown, leaving the bass a drums to pop along on their own, when the majesty of Bootsy’s touch on the bass gets a bit of limelight. He has moved to a more intricate version of the main bass line that's been going throughout the song.
This is the moment everything else is stripped away. I chose it for this selection because it is a short moment of a song I love, not a favourite song, just a bit I always look forward to and when I first discovered this record I used to just replay this moment over and over.
Queens Of the Stone Age - A Song For the Dead (1.52 - 2.02)
Queens of the Stone Age
-Songs For the Deaf (2002)
"Having earlier been introduced to 'QOTSA' by a few mates back in high school, I came across this song for the very first time when rediscovering the band.
I gravitated towards the instrumentation and how the song was assembled. Straight after the first verse, I was hit with backing harmonies that sounded so different to what I'd usually hear when listening to a rock track. That had me in a trance and I felt I was in an American-type-truck going down the "freeway" at high speed, windows down, head-bashing to every triplet I hear from Grohl's drums, head-swaying to the harmonies I heard from Josh Homme and Mark Lanegan and body-hitting every note by the bass (Nick Oliveri). It was crazy!
If you listen to this song deeply, you'll find it such a journey that gives you an insight to the band itself. It changed the way I view, perceive and listen to rock. One of the greatest for me." - Cassius Cobbson
"Pat’s opening lick here is just almighty; every time I listen to this segment of the track I’m blown away. Though the band drop out entirely, Pat creates such a huge wall of sound and melody that the energy is not lost but rather builds immensely as a result. It’s a killer lick that I hope to have the facility to steal one day.
This album was introduced to me by my parents when I was just getting into jazz around the age of 14. All Metheny’s compositions and improvisations have such a listenable, vocal and emotional quality – it’s amazing the way he makes the guitar sound so human.
For me, Metheny is as much a songwriter as he is a guitarist. There are many tracks on this record to check out for similarly glorious and uplifting solos, grooves and melodies – good quarantine listening!" - Rosie Frater-Taylor
"I grew up listening to Robert Wyatt, so his albums will always be very close to my heart. When i was younger i saw them more as sort of novelty albums - especially the stuff with Ivor Cutler, but as i've grown up i've recognised how sincere and beautiful his music can be too. i think this song is a perfect example of that. Its pretty simple....just a sweet little melody and some chords. no rhythm to it whatsoever.
You can see why Eno loved him. The synth/organ sounds are so cheesy, but the way he uses it on this is just perfect. I love how he doubles his vocals in octaves. This song is timeless." - Vincent Curson Smith
Paul Simon - Take Me To The Mardi Gras (2'50" - 3'00")
Paul Simon -
There Goes Rhymin' Simon (1962)
"Paul Simon was a feature of my - like many others' - late 80s/early 90s family home, and simply put, the last 10 seconds of Take Me To The Mardi Gras was the first time I ever heard what old school jazz sounded like. I love that song, purely for the rise of the band at the end." - Holly Harman
"Listening to the Ellington band is a great lesson for me in the importance of intention, and how we have to really believe in what we play for it to work. The first 10 seconds of this track is a perfect example. Ellington counting the band in like that just sets the tone from the very start. I also love Clark Terry’s playing on this." - Bruno Heinen
"Took a while because I mentally went through so many moments that I love to the bone and those can cover hours, never mind seconds !
Sonic sounds... how about Super-sonic? Sun Ra's Sunology part .2 which spaces from a desert to an ethereal ballad into the Blues within a minute! From the Album Supersonic Sounds. But also check out Jimi's solo on Born Under a Bad Sign. That's in my top 5 sonic seconds." - Mikele Montolli
John Williams - To the Maintenance Shed (1’16"- 1’26")
-Jurassic Park OST (1993)
"I just think it’s a perfect illustration of how music can create such excitement, suspense, forward motion , when all she is doing is running ... we know she is being chased but we never see by what.The music not only fills in all these gaps but goes way beyond." - Raphael Clarkson
"I first heard this on a car journey from LA to San Francisco - Without a Net came out while I was on holiday in California. Pegasus absolutely blew my mind, and it still does… the writing, the playing, the ideas, the band dynamic and interaction… and the way the quartet gels so brilliantly with the Imani Winds. The energy they all generate across 23 minutes is extraordinary. There are so many incredible lines from Wayne in this… but these 10 seconds encapsulate what this incredible group of people is all about.
There’s quite an interesting story about how the recording was rescued by WSQ’s engineer Rob Griffin too… I don’t understand all the finer details but it was a real recovery mission, and how grateful we are for his efforts!!!"
Funkadelic - One Nation Under A Groove (0'00" - 0'10")
Funkadelic - One Nation Under A Groove (1978)
"Why have I picked the opening ten seconds of “One Nation Under a Groove” by Funkadelic? It can instantaneously lift my mood for one. I’m fascinated by how they nailed that fantastic intro in the studio for two. Is it an edit? Where they already laying on that groove for some time before someone hit the record button? I love songs that just start like that, no pissing about. Straight in. You’re all in within ten seconds. It’s like you’ve opened the door to the best party ever. A monochromatic world is suddenly a Technicolor one. It’s everything I want from music. It’s empowering, hypnotic and infectious. The message is inclusive, positive, righteous. It’s dancing as a route to freedom.
“It’s political but from a mental standpoint. Burn down the ghettos in your head and trespass in your own mind”, as George Clinton himself put it. It’s the essence of the liberal dream come to life and I need to cling to that more than ever at this present time." - Raymond Gorman