"I remember listening to this tune when the record first dropped with my homie Jay Verma (amazing pianist check him out). The rhythm section have this intense not-quite-swung urgency, kinda like McCoy with Roy Haynes.
The big victory moment for me is the peak of Taylor Eigsti’s solo - this attack of McCoy language which morphs into these gorgeous gospel style block chords under a ‘Love For Sale’ quote. Really shows the emotional potential in jazz improv - such a perfect unity between ferocity and sensitivity," - Harry Ling
"This is one of my favourite moments in all of Jazz music. The reason I love it so much is the tension that is built-up beforehand with the push and pull between the orchestra and Miles’ band, which then all boils down to the man that is Philly Joe! This drum solo gets me every time. I just think it is so musical and full of groove. He even carries it over a little into the next bar as Miles starts one of his many iconic solos.. And man when Miles starts playing, its like rolling down the window and taking a long drag…. Well thats how it makes me feel anyway....
I think this is the perfect example of tension and release and it never fails to make me well-up inside with excitement. " - Joe Downard
"These 10 seconds sound like the music is literally melting.
The fluidity that Led Zeppelin has managed to achieve is unbelievable - when I hear these 10 seconds I feel like I’m falling through liquid music.
They take this tune through so many phases, with a section in the middle where the guitar and vocals are almost trading. Around 3.42, the descending dirty guitar melody is paired with Plant’s vocals to make an innovative and unparalleled sound. The whole tune culminates in these 10 seconds from 5:10-5:20; going from a hard rock groove and then plunging back into this dark, wild passage with the drums battering you into the madness is utterly euphoric and bewildering." - Beth Hopkins
"At a young age I was blissfully unaware of how the beautifully complex and precision crafted beats coming from the UK’s underground drum n bass and jungle scene, would later influence my sense of groove and feel on the drums subconsciously. Only now looking back on my journey so far, I can see how early exposure to this song was a gateway into a new rhythmic world that impacted musical vocabulary and approach to my instrument. These 10 secs capture the very groove that sparked my curiosity and gravitation towards the drum set." - Ajit Gill
"Afro Blue Impressions is one of my all time favourite albums. Initially, when George asked me to do this, I pretended to myself that I wasn't going to pick any Coltrane...
Anyway, I've always had a fascination with the way in which this quartet played the blues . I especially enjoy listening to these longer live recordings where they have time to stretch out and build. Right from the start this take is full of intensity, playfulness, passion & exploration. It's also full of risk taking which comes hand and hand with trust between musicians. What we are listening to is the culmination of hours and hours of these great master musicians playing together and it's glorious." - Dave Storey
" I believe this piece is a jewel. The arrangements sound like lace. The conversation between all musical components is so graceful. I love Warda’s entrance and her delicate,nonchalant way to lie on the strings. Her technique and emotional connection gives her the capacity to display a gorgeous panel of nuances.
Her voice was around me since I can remember. She is a model of courage and self determination for all Algerian women, as she defied all the sexist obstacles laid by a patriarchal society and industry. The length of the tune puts you in a trance (especially if you dance to it!) which I embrace. Music is a moment in suspension, a journey, a story… I like that it lasts and takes its own pace to unfold." - Mozzaika
"I've chosen the first 10 seconds of a 1961 Village Vanguard recording of Coltrane's 'Chasin the Trane'. I still get just as excited just from hearing those first 10 seconds as I did when I first heard this years ago, especially when you know what you're in for!
The 'Trane/Garrison/McCoy/Elvin (and sometimes Dolphy) quartet/quintet is one of my favourite line-ups. They always play with such raw energy. I love the narrative and motivic and rhythmic development that 'Trane plays with on this version of Chasin the Trane. There's so much to learn just from this one track. Also some pretty good screams on it too which I love..." - Alice Leggett
Gil Scott Heron - The Revolution Will Not Be Televised (0'00" - 0'10")
Gil Scott Heron
- Pieces of a Man (1971)
"My choice is the first ten seconds (might be 11 – can I sneak in an extra one?) is from the opening of Gil Scott-Heron’s The Revolution will not be Televised from the 1971 album Pieces of a Man. The pared-back intro features Ron Carter’s bass, Pretty Purdie on drums and the coolest bluesy flute lines from Hubert Laws. The combination is dynamite. The tune steps forward out of the album with such strength and confidence, setting up perfectly for the astonishing artistry of Scott-Heron.
This tune resonates for me because when I heard it many years ago it was the first time I understood that the flute wasn’t just something which twittered away at the top of a classical orchestra. Flute could be powerful. Flute could be sexy. Flute could be funky as hell. And a whole musical world opened up."
"I first heard this funk jazz masterpiece through my uni drum tutor during my studies and was blown away. Especially Brian Blade's featured drum solo at the end which I feel changed my approach to solos. Brian comes at this solo in such a musical way, that displaying crazy chops was not needed. The solo itself sounded like a song instead of a blur of notes played. At the time, a lot of drum solos I heard showed off speed, ability and technique. This solo here for me displays true musicianship." - Ayo Salawu
"For me this is the peak of the track, the anthemic melody hammers straight through your soul. The tune evokes this air of sadness and triumph all at once; a real battle of emotions. I can't think of a single Shai Maestros tune that doesn't pull directly at the heart, and this track is a perfect example of his adept ability to translate music into emotions." - Daisy George
14. EMMA RAWICZ (Saxophonist, Vocalist, Multi=Instrumentalist)
Charlie Haden - Travels (3'17"-3'27")
Charlie Haden with Michael Brecker – American Dreams (2002)
"The transfer from Brad Mehldau’s piano solo into Brecker’s is a masterclass in build of intensity — all the while retaining the pure soulful element of this beautiful Pat Metheny tune. it’s so obvious that all the musicians in the band completely understand and identify with the music, and with such an incredibly a-list lineup, it has a gorgeous effect. the whole of this tune is near perfection for me.
That said, i think the most beautiful 10 seconds of music are from Enowena, on Kenny Wheeler’s album The Long Waiting (1:27-1:37). I find the transition from a piano trio setting, with all this freedom in the drums, to a full big-band texture, with gorgeous extended harmonies, typical of Kenny Wheeler. Staggering to listen to. The whole song, and in fact the whole album has this yearning, emotional quality to it — I hold it responsible for my passion for this kind of music." - Emma Rawicz
Ella Fitzgerald and Count Basie - Honeysuckle Rose (0'30" – 0'40")
Ella Fitzgerald and Count Basie
- Ella and Basie! (1963)
"Ella Fitzgerald is in my opinion one of the best Jazz singers who ever lived. Her voice here, together with the support of the Count Basie orchestra, is pure dynamite. Ella is known for her stunning voice but it’s her time and swing feel that gets me every time. She uses displacement with such ease and on very a fast tempo, it’s just impeccable. Count Basie is one of the greatest big band leaders, he truly knew how to make a band swing.
In these 10 seconds there is so much joy, so much excitement, it’s such a great build up to when the brass, the full might of the big band comes in. Ella and Basie are 2 Jazz giants and this records shows them in all their glory, I just can’t help but smile." - Ineza
"Without doubt my favourite 10 seconds of anything I’ve ever heard so far. I still remember the first time I listened to this while driving- I got so excited I almost crashed the car!
To me, it’s the way Sonny starts calling the whole band in, following his duet with bassist Doug Watkins for more than half a chorus, and then the way Tommy Flanagan & Max Roach respond and get back in the game. I mean, that build up is something else.
Listening to this tune years back made me start thinking seriously about arrangements, transitions, the selection of instruments in the band at various moments and the importance of contrast in music. Contrast is everything. …or, at least, what drives me mad when I drive." - Maria Grapsa
"Researching and looking for inspiration I have come across this recording at the beginning of my musical journey. It completely blew my mind in terms of the team work..not mentioning the craft. Chosen segment of the tune is a moment when the story- solo could either finish or continue. In an effect it is an announcement of more to come. Practically a statement of the complexity of the human nature. Stable almost monotonous groove keeps a listener in a trance. The keys build up the harmonic structures and interact (accompany and inspire) with the soloist, whose rhythmical arpeggiated chromatic modulations are anticipated by the percussion. It’s like stretching the momentum to the maximum and reaching to the heights only available to the band- one breathing organism with multiple faces looking in the same direction."
‘The trio create incredible propulsion consisting of so many dimensions - all at high tempo. Each time Jarrett takes a breath - a compelling phrase building on or subverting what came before subsequently arrives. De Johnette and Peacock react on a dime while constantly dipping into an infinite reservoir.
I love right-hand only Jarrett too - as he revels in the sweet spot - rhythmic ease and simultaneous conversation between all the spiritual spheres within himself and between the trio - portraying melody and harmony equally - and transitioning between choruses with such strong ideas - each demanding tunes of their own! Visceral Mastery.’-Robert Mitchell
"You can't acknowledge 10 seconds of music without the rest of the track, of course. That being said, this opening drum fill and bass feature sets up what I know is one of my favourite tracks from ‘Criss-Cross’ (1963). I think it’s yet another testament to Monk’s compositional genius: re-imagining and injecting his unique voice into a Broadway tune that isn’t his own. When that familiar melody arrives over his own harmony, it is Tea for Two - but undoubtedly Monk! Simply a great listen that swings and makes me smile."