Session notes from the booth.

If She Knew What She Wants (Extended Remix) by Bangles lands here because Miles Ahead (Mono Master) by Miles Davis & Gil Evans and Je Te Veux by Satie provide a smooth emotional arc, keeping the station's mood steady while offering fresh turns.. The pop/rock edge gives the turn a more precise contour than a plain mood match. Miles Ahead (Mono Master) can step in after it without the handoff feeling pre-chewed.

On Gold (2) (2020), If She Knew What She Wants (Extended Remix) shows Bangles working in a 2020s pocket with pop/rock in the grain. The cut moves with a candlelit drift, 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 Miles Ahead (Mono Master) to arrive without the segue feeling forced.

Miles Ahead (Mono Master) answers If She Knew What She Wants (Extended Remix) by Bangles 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. Je Te Veux can step in after it without the handoff feeling pre-chewed.

On The Complete Columbia Studio Recordings [Disc 6] (2004), Miles Ahead (Mono Master) shows Miles Davis & Gil Evans working in a 2000s 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 If She Knew What She Wants (Extended Remix) without borrowing the same emotional weight. It also leaves a lane for Je Te Veux to arrive without the segue feeling forced.

Je Te Veux answers Miles Ahead (Mono Master) by Miles Davis & Gil Evans 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 Complete Piano Works, Volume 3 (1994), Je Te Veux 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 Miles Ahead (Mono Master) without borrowing the same emotional weight.

Tadd's Delight (From The Album 'Round About Midnight) by Miles Davis lands here because Tadd's Delight by Miles Davis provides a bold and unexpected turn after T69 collapse by Aphex Twin, while Trois Poèmes D'amour by Satie offers a smooth transition to the next hour.. The jazz edge gives the turn a more precise contour than a plain mood match. Trois Poèmes D'amour: Ta Parure Est Secrète can step in after it without the handoff feeling pre-chewed.

On INTEGRAL MILES DAVIS 1951-1956 (2024), Tadd's Delight (From The Album 'Round About Midnight) shows Miles Davis working in a 2020s 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 Trois Poèmes D'amour: Ta Parure Est Secrète to arrive without the segue feeling forced.

Trois Poèmes D'amour: Ta Parure Est Secrète answers Tadd's Delight (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 classical edge gives the turn a more precise contour than a plain mood match.

On Complete Piano Works, Volume 9 (1995), Trois Poèmes D'amour: Ta Parure Est Secrète 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 Tadd's Delight (From The Album 'Round About Midnight) without borrowing the same emotional weight.