Session notes from the booth.

Bye Bye Blackbird (From The Album 'Round About Midnight) by Miles Davis lands here because Keeps the emotional pressure steady after 'Boy, What A Night' by Lee Morgan and turns the color from 1960s into 1990s.. The jazz edge gives the turn a more precise contour than a plain mood match. Ptolemy can step in after it without the handoff feeling pre-chewed.

On The Columbia Years 1955-1985 (2) (1988), Bye Bye Blackbird (From The Album 'Round About Midnight) shows Miles Davis working in a 1980s pocket with jazz in the grain. The cut moves with a bright electric charge, which is why it can hold this turn without flattening it. Inside Aphex Twin close-up, it reads as curation rather than stunt programming.

Listen for the jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Ptolemy to arrive without the segue feeling forced.

Ptolemy keeps aphex twin close-up honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic, ambient, experimental edge gives the turn a more precise contour than a plain mood match. Father can step in after it without the handoff feeling pre-chewed.

On Selected Ambient Works 85-92 (1992), Ptolemy shows Aphex Twin working in a 1990s pocket with electronic, ambient, experimental in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Aphex Twin close-up, it reads as curation rather than stunt programming.

Listen for the electronic, ambient, experimental texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Bye Bye Blackbird (From The Album 'Round About Midnight) without borrowing the same emotional weight. It also leaves a lane for Father to arrive without the segue feeling forced.

Father keeps aphex twin close-up honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic, ambient, experimental edge gives the turn a more precise contour than a plain mood match.

On Disc 2 - Drukqs (2001), Father shows Aphex Twin working in a 2000s pocket with electronic, ambient, experimental in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Aphex Twin close-up, it reads as curation rather than stunt programming.

Listen for the electronic, ambient, experimental texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Ptolemy without borrowing the same emotional weight.

Honky Tonk by Miles Davis lands here because keeps the emotional pressure steady after Loaded CD4 by Velvet Underground and changes the palette without cutting the thread. R.E.M. is one of Ian's steadier shelf presences, so the pick already reads like a real hand.. The jazz edge gives the turn a more precise contour than a plain mood match. There She Goes Again can step in after it without the handoff feeling pre-chewed.

On The Columbia Years 1955-1985 (Disc 4) (1988), Honky Tonk shows Miles Davis working in a 1980s pocket with jazz in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for There She Goes Again to arrive without the segue feeling forced.

There She Goes Again answers Honky Tonk by Miles Davis with a related tension instead of a copycat move, so the sequence keeps opening out. The rock edge gives the turn a more precise contour than a plain mood match. Raining in Baltimore can step in after it without the handoff feeling pre-chewed.

On Dead Letter Office (1987), There She Goes Again shows R.E.M. working in a 1980s pocket with rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Honky Tonk without borrowing the same emotional weight. It also leaves a lane for Raining in Baltimore to arrive without the segue feeling forced.

Raining in Baltimore answers There She Goes Again by R.E.M. with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative rock edge gives the turn a more precise contour than a plain mood match.

On August and Everything After (1993), Raining in Baltimore shows Counting Crows working in a 1990s pocket with alternative rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the alternative rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers There She Goes Again without borrowing the same emotional weight.

Memory by Barry Manilow lands here because Keeps the emotional pressure steady after Cortez the Killer by Neil Young & Crazy Horse and turns the color from 1970s into 2010s. Miles Davis is one of Ian's steadier shelf presences, so the pick already reads like a real hand.. The pop, rock edge gives the turn a more precise contour than a plain mood match. Quatre Ogives: I. Les Anges can step in after it without the handoff feeling pre-chewed.

On Here Comes the Night (1982), Memory shows Barry Manilow working in a 1980s pocket with pop, rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Quatre Ogives: I. Les Anges to arrive without the segue feeling forced.

Quatre Ogives: I. Les Anges answers Memory by Barry Manilow with a related tension instead of a copycat move, so the sequence keeps opening out. The classical edge gives the turn a more precise contour than a plain mood match. Dialogue: 'It takes a long time...' can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 1 (1994), Quatre Ogives: I. Les Anges shows Satie working in a 1990s pocket with classical in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the classical texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Memory without borrowing the same emotional weight. It also leaves a lane for Dialogue: 'It takes a long time...' to arrive without the segue feeling forced.

Dialogue: 'It takes a long time...' answers Quatre Ogives: I. Les Anges by Satie with a related tension instead of a copycat move, so the sequence keeps opening out. The jazz edge gives the turn a more precise contour than a plain mood match.

On Miles Ahead: Original Motion Picture Soundtrack (2016), Dialogue: 'It takes a long time...' shows Miles Davis working in a 2010s pocket with jazz in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it.

Listen for the jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Quatre Ogives: I. Les Anges without borrowing the same emotional weight.