Session notes from the booth.

Walkin' by Miles Davis lands here because Cheap Thrills by Sia and Final Straw by R.E.M. provide a sharp two-step that extends the feeling of David Bowie's I’d Rather Be High without sounding automatic.. The jazz edge gives the turn a more precise contour than a plain mood match. Cheap Thrills can step in after it without the handoff feeling pre-chewed.

On At Plugged Nickel, Chicago (CD1) (1965), Walkin' shows Miles Davis working in a 1960s 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 Cheap Thrills to arrive without the segue feeling forced.

Cheap Thrills answers Walkin' by Miles Davis with a related tension instead of a copycat move, so the sequence keeps opening out. The pop, rock edge gives the turn a more precise contour than a plain mood match. Final Straw can step in after it without the handoff feeling pre-chewed.

On This Is Acting (2016), Cheap Thrills shows Sia working in a 2010s 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. You can hear how it answers Walkin' without borrowing the same emotional weight. It also leaves a lane for Final Straw to arrive without the segue feeling forced.

Final Straw answers Cheap Thrills by Sia 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.

On Around The Sun (2004), Final Straw shows R.E.M. working in a 2000s pocket with 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 rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Cheap Thrills without borrowing the same emotional weight.

I'll Take The Rain by R.E.M. lands here because Keeps the emotional pressure steady after Finale by Daft Punk and turns the color from 10s into 2020s.. The rock edge gives the turn a more precise contour than a plain mood match. Bastards Of Light can step in after it without the handoff feeling pre-chewed.

On Reveal (2001), I'll Take The Rain shows R.E.M. working in a 2000s 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. It also leaves a lane for Bastards Of Light to arrive without the segue feeling forced.

Bastards Of Light answers I'll Take The Rain 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. I'm Beginning To See The Light can step in after it without the handoff feeling pre-chewed.

On Unlimited Love (2022), Bastards Of Light shows Red Hot Chili Peppers working in a 2020s pocket with alternative-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 alternative-rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers I'll Take The Rain without borrowing the same emotional weight. It also leaves a lane for I'm Beginning To See The Light to arrive without the segue feeling forced.

I'm Beginning To See The Light answers Bastards Of Light by Red Hot Chili Peppers 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 Sinatra And Swingin' Brass (2014), I'm Beginning To See The Light shows Frank Sinatra 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 Bastards Of Light without borrowing the same emotional weight.

White Blur 2 by Aphex Twin lands here because Keeps the emotional pressure steady after Tadd's Delight (From The Album 'Round About Midnight) by Miles Davis and turns the color from 2020s into 1990s.. The electronic, ambient, experimental edge gives the turn a more precise contour than a plain mood match. Dear Old Stockholm (From The Album 'Round About Midnight) can step in after it without the handoff feeling pre-chewed.

On Disc 2 - Selected Ambient Works Volume II (1994), White Blur 2 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.

Listen for the electronic, ambient, experimental texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Dear Old Stockholm (From The Album 'Round About Midnight) to arrive without the segue feeling forced.

Dear Old Stockholm (From The Album 'Round About Midnight) answers White Blur 2 by Aphex Twin 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. Star Me Kitten can step in after it without the handoff feeling pre-chewed.

On INTEGRAL MILES DAVIS 1951-1956 (2024), Dear Old Stockholm (From The Album 'Round About Midnight) shows Miles Davis working in a 2020s pocket with jazz in the grain. The cut moves with a candlelit drift, 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 White Blur 2 without borrowing the same emotional weight. It also leaves a lane for Star Me Kitten to arrive without the segue feeling forced.

Star Me Kitten answers Dear Old Stockholm (From The Album 'Round About Midnight) 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.

On Automatic For The People (1992), Star Me Kitten shows R.E.M. working in a 1990s 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 Dear Old Stockholm (From The Album 'Round About Midnight) without borrowing the same emotional weight.

The Dream by Miles Davis lands here because it keeps the soulful / low-lit drift pull alive without sanding off the grain that makes this hour interesting. The jazz edge gives the turn a more precise contour than a plain mood match. Orange Crush can step in after it without the handoff feeling pre-chewed.

On 1986-1991: The Warner Years (CD2) (2011), The Dream 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 Orange Crush to arrive without the segue feeling forced.

Orange Crush answers The Dream 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.

On Green (2013), Orange Crush shows R.E.M. working in a 2010s 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 The Dream without borrowing the same emotional weight.