Session notes from the booth.

The Jam Session by Miles Davis lands here because Requiem in D Minor, K. 626: Xv. Lux Aeterna by Wolfgang Amadeus Mozart and Piano Sonata No.1 in F Minor Op.2 - II. Adagio by Mari Kodama provide a fresh turn after Je Te Veux by Satie without cutting the thread.. The jazz edge gives the turn a more precise contour than a plain mood match. Requiem in D Minor, K. 626: Xv. Lux Aeterna can step in after it without the handoff feeling pre-chewed.

On 1986-1991: The Warner Years (CD2) (2011), The Jam Session shows Miles Davis working in a 2010s pocket with jazz 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 jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Requiem in D Minor, K. 626: Xv. Lux Aeterna to arrive without the segue feeling forced.

Requiem in D Minor, K. 626: Xv. Lux Aeterna answers The Jam Session by Miles Davis 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. Piano Sonata No.1 in F Minor Op.2 - II. Adagio can step in after it without the handoff feeling pre-chewed.

On Requiem: Reconstruction of First Performance (2014), Requiem in D Minor, K. 626: Xv. Lux Aeterna shows Wolfgang Amadeus Mozart working in a 2010s 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 The Jam Session without borrowing the same emotional weight. It also leaves a lane for Piano Sonata No.1 in F Minor Op.2 - II. Adagio to arrive without the segue feeling forced.

Piano Sonata No.1 in F Minor Op.2 - II. Adagio answers Requiem in D Minor, K. 626: Xv. Lux Aeterna by Wolfgang Amadeus Mozart 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.

On Beethoven. Piano Sonatas Nos. 1, 2, 3 (2008), Piano Sonata No.1 in F Minor Op.2 - II. Adagio shows Mari Kodama working in a 2000s 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 Requiem in D Minor, K. 626: Xv. Lux Aeterna without borrowing the same emotional weight.

Don't Let The Sun Go Down On Me by Elton John lands here because Keeps the emotional pressure steady after If She Knew What She Wants (Extended Remix) by Bangles and turns the color from 2020s into 2010s.. The pop/rock edge gives the turn a more precise contour than a plain mood match. Build It Up can step in after it without the handoff feeling pre-chewed.

On Rocket Man: The Definitive Hits (2007), Don't Let The Sun Go Down On Me shows Elton John working in a 2000s pocket with pop/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 pop/rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Build It Up to arrive without the segue feeling forced.

Build It Up answers Don't Let The Sun Go Down On Me by Elton John with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative & indie edge gives the turn a more precise contour than a plain mood match. The Jam Session can step in after it without the handoff feeling pre-chewed.

On The Human Fear (2025), Build It Up shows Franz Ferdinand working in a 2020s pocket with alternative & indie 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 alternative & indie texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Don't Let The Sun Go Down On Me without borrowing the same emotional weight. It also leaves a lane for The Jam Session to arrive without the segue feeling forced.

The Jam Session answers Build It Up by Franz Ferdinand 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 1986-1991: The Warner Years (CD2) (2011), The Jam Session shows Miles Davis working in a 2010s pocket with jazz 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 jazz texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Build It Up without borrowing the same emotional weight.