"I borrowed this record from the local library because I liked the cover, I was 16 years old, it hadn’t been out long, I completely fell in love with it listening in my bedroom with lights off and a joss stick lit, I also got myself a poncho soon after, I’d had aspirations to be hippy for a few years, luckily it was never fully realised. I was initially struck by the fantastically exciting. expressive saxophone playing of Frank Lowe especially on Chenrezig, His intense screams dancing over the beautiful haunting piano and vocals of Don Cherry. I soon took up playing the drums seriously and learnt the funk, swing and open style of Billy Higgins drumming was integral to so many great records."
"I was choosing between two excerpts of Ambrose Akinmusire's playing, one which is essentially how I imagine the end of the World to sound, and one where the Sun has just broken through the clouds after a storm. I’ve gone for the first purely because because it fits better into 10 seconds!
There’s so many brilliant moments in his music where he holds nothing back and gives himself completely to the moment, this is probably my favourite example. He is a complete master of creating tension and feeling the optimal time to release it all in the most staggeringly-beautiful way. He’s able to transcend his abilities on the instrument and just play. So good." - Nye Banfield
Stravinsky's Rite of Spring, Opening Sequence, D clarinet high solo (2'20"-2'30")
Written in c1913
"I was lucky enough to grow up in a time and place where county youth music was at least partly funded by the local education authority, meaning I could spend all my holidays working my way up through a system of youth orchestras. One of the major highlights was getting to play Stravinsky's The Rite of Spring sometime in my late teens. I've chosen these 10 seconds as that clarinet solo was my job! I still get a thrill of anticipation/terror/excitement when I hear it. It's impossible to underestimate the lasting impact playing this visceral piece had on me as a musician." - Tamar Osborn
"Named after the film character Dr Zhivago, it’s from Kurt Rosenwinkel's ‘The Next Step’. I don’t think there is another piece of music that has been on rotation for me more than this one. I’ve ended up learning to play the tune and guitar solo, and it had a long lasting impact on how I hear contemporary jazz guitar music.
The selection we hear appears first as part of the great solo guitar introduction and then at minute 1:42 into this lengthy composition, and portraits the mood and energy of this great track very well." - Hannes Riepler
"Tap Step was one of the main albums I found to be very inspiring during my formative years. All original compositions by Chick Corea. Each one being really uplifting and with hugely different angles. This, the title track, I felt and still feel is so very motivating and is filled with much verve. It’s a track that really spurs me on as it’s so driven. It sets off with a constant, pulsating mantra-like rhythm on the keyboards, drums & bass, (Tom Brechtlein and Bunny Brunel) bursting with energy. The unison stabs really gee me up.
Such invigorating horn lines and voicings. Intriguing harmonies and shifts. Chick Corea is in his element venturing through Rhodes, Oberheim and Moogs.
Al Vizzutti’s trumpet solo is extraordinary. Joe Farrell’s tenor solo is so incisive with rhythmic bite.
"It’s the first ten seconds of running up that hill, Kate Bush. I was a kid but that intro made me stop in my tracks. It’s the first memory I have of listening to music with any depth. It made me curious about how music is made.
I wondered what made that sound. It helped me understand that catchy can also be interesting. And then she sang and it was all over. - Alya Al Sultani
"I choose this tune because you can hear the collective headspace of this trio is on another level. They way they follow each other so organically is mind blowing. I love this moment because of its high energy. It feels like such a great release from the intense playing leading up to it, Nasheet Waits and Tarus Mateen respond perfectly to what Jason Moran is reaching for, and it’s still rooted in the blues." - Joe Bristow
Charlie Haden Liberation Music Orchst + Carla Bley - Throughout (8'16" - 8'26")
"This clip is an absolute perfect moment of an improvised solo perfectly completing a composition. This piece by Bill Frisell is a hugely emotional ride, really simple in construction but the moments of tension and release are so sublime. Here we are reaching the climax of the performance, and the climax of Toby Malaby's solo, and he picks such emotional notes to end his solo that it always sends shivers down my spine." - Tom Smith
"This album opened my ears and mind to the potential of singing in ways that maybe aren't always 'pretty' (there had been a lot of pop in my life), but that are still pleasant, enjoyable and honest. Never mind the fact that I also think Björk has an incredibly pleasing voice to begin with, she sounded like she was using her physiology in ways I hadn't considered, to shape what she was expressing. This tune might not be my favourite from the album but this particular 10 seconds delights me every time I hear them. Seemingly out of nowhere, it 'blooms' and retreats in a way that is always a pleasure to sing along to."
"In all honesty I was exposed to three kinds of music at a young age:
1. Arabic music was the first : I grew up in Jordan and my mum's Palestinian,
so I heard a lot of patriotic/ folklore from that region of the Middle East.
2. I started my life as a classical cellist so classical music has almost certainly played a huge part of my life.
3. However I would like to choose 'Laura' from the album Serenade to Laura played by Errol Garner. 1945.It's the reason I was given my first name Laura Sara Dowling and it was the first piece of jazz I'd ever heard. My father was crazy about jazz. This piece reminds me of a generation of jazz musicians who had to be masters of there instrument. Errol Garner's playing here could stand up against anyone one of those classical pianists back then but he was the wrong colour. Although this performance is flawless it also displays an outpour of emotion that moved me even as a child. Errol Garner was unique and the played the piano like an orchestra. He has been an early jazz inspiration to me. If I could turn back the clock I'd like to have been a piano player .
Louis Armstrong - All Stars at the Empress Hall in London (1956)
"This was one of the first Louis Armstrong songs I heard as an early trumpet player. It was the first time it clicked with me, not hearing an instrument but hearing a voice. The conversation between the front line instruments, as if they were in the pub discussing old war stories ahaha.
It’s what pushed me to continue to play, when I struggle with words I genuinely feel I can express my language through the music art form, that’s why I have a strong connection with Louis. I feel I’m listening to his stories" Poppy Daniels
"This version of Where or When (originally composed by Rodgers and Hart in 1937) is the embodiment of what I based my sound as a trumpeter on. Wynton's tone is crystal clear and inspired me on this recording, to achieve a similar clarity in my performing. There is no solo, just the melody with a cadenza at the end which never fails to astound me. On piano is Ellis Marsalis, bass is Reginald Veal and Herlin Riley on drums." - Harrison Cole
Miles Davis & Sonny Stitt- Round Midnight (2'47" - 2'57")
- Live In Paris (1960)
"I discovered this track while being turned on to Miles’ live concert records like ‘My Funny Valentine’ and ‘Live in Berlin’. While browsing the Internet I found a version of “Round Midnight’ by Miles In Paris, 1960 with the amazing Sonny Stitt. Sonny Stitt was seen as a ‘filler’ sax player while Miles was trying to find someone to replace Coltrane.
However, there is a filthy interaction between Miles and Sonny at the ‘break’ where their high notes clash wildly and due to the distortion of the mics they sound like ramped-up electric guitars which creates an absolute scream of tension."- Dylan Jones
"This meeting of a Moroccan Gnawa legend & spiritual jazz legend
Pharaoh Sanders demonstrates about as much conviction as you'll ever hear in music. It's a journey even attempting to listen to the entire record and isn't for the faint-hearted, due to the weight and sheer determination that both legends bring to expressing the moment. It might not necessarily be my favourite record, but so many snippets of it like this are an unmistakable reminder of
"As soon as i read '10 seconds' I thought of this. When I was at music college,
I became obsessed with Paul Motian. Like many, I'd heard him first through the Bill Evans recordings at the Vanguard but then rediscovered him with Paul Bley, Keith Jarrett and the incredible number of his own recordings. Earlier recordings too, most importantly the eponymous album "Warne Marsh", half
of which he plays opposite Philly Joe Jones.
To me Motian has always seemed to encapsulate the whole of the jazz tradition, no matter the musical situation; amazing time, touch, feel and sound. He swings his arse off and plays free or rubato music with amazing musicality.
This excerpt is bonkers... Motian always feels very familiar, yet at the same time absurd. He can crash around in a way that sounds bizarre yet is steeped in Jazz Phrasing and feel... First time I heard it ,I think I spat my coffee out in disbelief and began cheering and laughing hysterically. It is Jazz, but rearranged and with most of the stuff we have been trained to try and achieve thrown out. Its childlike and wise, Its joyous and playful and yet steeped in knowledge and experience without taking itself seriously. I love that it's silly but also earnest. Paul Motian has been a huge inspiration for me and these ten seconds are a pretty good demonstration why. - Will Glaser
"This is probably the closest musical equivalent I can think of to a volcanic eruption. It’s the transition between the end of John Scofield’s solo and the entrance of Mike Brecker’s. John ends his solo with one of his signature string bends on the tonic to a backdrop of some frenetic drumming from Jack DeJohnette and violent, persistent chord jabs from Herbie. Jack drum rolls right through the start of the Brecker solo as Herbie ratchets up the harmonic tension with a low register McCoy-esque perfect fifth starting on C, quartel chords in the Dorian mode and an earth shattering double diminished chord at around 5:57 followed by some chromatic upper structures. Dave Holland zigzags between the tonic and dominant at the start of the Brecker solo which adds to the chaos. All of this creates a very unstable foundation for Mike Brecker when he enters, but his sound is so huge and commanding that he manages to bind the rampant disorder together as he winds through some beautifully executed Dorian lines.
It’s amazing what this band can do over what’s essentially a V-I cadence followed by an extended run on the dominant in the space of ten seconds. And what a great ten seconds it is." - David Bristow
"I chose these ten seconds of this 15-minute epic as it always takes me back to the first time of hearing it. I was sat in the library at Trinity Laban and as the climax of McCoy’s solo was kicking off ,Coltrane comes in with those incredible first two notes of his second solo and I screamed so loud in the library and the guy had to come tell me to keep it down!! It’s just the way he’s already given so much in his first solo and the intensity just carries on through McCoy’s solo and then the release comes with Coltrane coming in again. That feeling I first had is something I still get when I listen now and that’s what this music is all about!!
"I first heard Billie Holiday’s ‘Strange Fruit’ a long time ago; but it wasn’t until I heard it for what felt like the first time again a few years ago that I really listened. It was a dark day, at a substance misuse rough sleepers hostel in Westminster, and ‘Strange Fruit’ was coming from an old crunchy speaker out of the window of a residents room pouring sound into the alleyway where I was smoking. We had lost a resident to an accidental overdose a few days previously and the eerie stillness combined with the daily relentless chaos that filled the hostel was so painfully beautiful.
There is so much about ‘Strange Fruit’ that makes it so painfully beautiful; the eerie solemn piano tones, the crying trumpet, the poetry. I have chosen the ten seconds that end the piece; it features a long held note by Holiday answered by a falling ghostly guitar. At the forefront of this tune is Holiday’s voice, it is dark, filled with suffering but delivered with a lightness and ease towards such pain; in a sense that is so fundamentally human. - Cleo Savva