Session notes from the booth.

La Belle Excentrique (Fantaisie Sérieuse) (For Piano 4 Hands): Marche Franco / Lunaire by Satie lands here because Keeps the emotional pressure steady after the recent trail and changes the palette without cutting the thread. Satie is one of Ian's steadier shelf presences, so the pick already reads like a real hand.. The classical edge gives the turn a more precise contour than a plain mood match. Me And Mrs. Jones can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 7 (1995), La Belle Excentrique (Fantaisie Sérieuse) (For Piano 4 Hands): Marche Franco / Lunaire 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. It also leaves a lane for Me And Mrs. Jones to arrive without the segue feeling forced.

Me And Mrs. Jones answers La Belle Excentrique (Fantaisie Sérieuse) (For Piano 4 Hands): Marche Franco / Lunaire by Satie 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 Sounds Of The Seventies - Rock 'N' Soul Seventies (1991), Me And Mrs. Jones shows Billy Paul working in a 1990s 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 La Belle Excentrique (Fantaisie Sérieuse) (For Piano 4 Hands): Marche Franco / Lunaire without borrowing the same emotional weight.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because A Clean Break (Let's Work) by Talking Heads and La Belle Excentrique by Satie provide a fresh turn after Tadd's Delight, keeping the emotional pressure steady and adding variety to the hour.. The alternative / indie rock edge gives the turn a more precise contour than a plain mood match. La Belle Excentrique (Fantaisie Sérieuse) (For Piano 4 Hands): Marche Franco / Lunaire can step in after it without the handoff feeling pre-chewed.

On The Name of This Band Is Talking Heads (Expanded 2004 Remaster) (2004), A Clean Break (Let's Work) (Live; 2004 Remaster) shows Talking Heads working in a 2000s pocket with alternative / indie 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 / indie rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for La Belle Excentrique (Fantaisie Sérieuse) (For Piano 4 Hands): Marche Franco / Lunaire to arrive without the segue feeling forced.

La Belle Excentrique (Fantaisie Sérieuse) (For Piano 4 Hands): Marche Franco / Lunaire answers A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads 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 7 (1995), La Belle Excentrique (Fantaisie Sérieuse) (For Piano 4 Hands): Marche Franco / Lunaire 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 A Clean Break (Let's Work) (Live; 2004 Remaster) without borrowing the same emotional weight.

Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère by Satie lands here because Me And Mrs. Jones by Billy Paul keeps the emotional pressure steady after Slide by Slave and turns the color from 1970s into 1990s, changing the sentence enough to keep the hour feeling authored.. The classical edge gives the turn a more precise contour than a plain mood match. Me And Mrs. Jones can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 8 (1995), Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère 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. It also leaves a lane for Me And Mrs. Jones to arrive without the segue feeling forced.

Me And Mrs. Jones answers Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère by Satie 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 Sounds Of The Seventies - Rock 'N' Soul Seventies (1991), Me And Mrs. Jones shows Billy Paul working in a 1990s 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 Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère without borrowing the same emotional weight.

La Belle Excentrique (Fantaisie Sérieuse) (For Piano 4 Hands): Marche Franco / Lunaire by Satie lands here because Me And Mrs. Jones by Billy Paul provides a fresh lift after Satie's left turn, keeping the emotional arc alive.. The classical edge gives the turn a more precise contour than a plain mood match. Me And Mrs. Jones can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 7 (1995), La Belle Excentrique (Fantaisie Sérieuse) (For Piano 4 Hands): Marche Franco / Lunaire 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. It also leaves a lane for Me And Mrs. Jones to arrive without the segue feeling forced.

Me And Mrs. Jones answers La Belle Excentrique (Fantaisie Sérieuse) (For Piano 4 Hands): Marche Franco / Lunaire by Satie 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 Sounds Of The Seventies - Rock 'N' Soul Seventies (1991), Me And Mrs. Jones shows Billy Paul working in a 1990s 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 La Belle Excentrique (Fantaisie Sérieuse) (For Piano 4 Hands): Marche Franco / Lunaire without borrowing the same emotional weight.

Trois Poèmes D'amour: Ta Parure Est Secrète by Satie lands here because Trois Poèmes D'amour: Ta Parure Est Secrète by Satie provides a smooth transition and keeps the hour feeling authored.. The classical edge gives the turn a more precise contour than a plain mood match. Me And Mrs. Jones can step in after it without the handoff feeling pre-chewed.

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. It also leaves a lane for Me And Mrs. Jones to arrive without the segue feeling forced.

Me And Mrs. Jones answers Trois Poèmes D'amour: Ta Parure Est Secrète by Satie 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 Sounds Of The Seventies - Rock 'N' Soul Seventies (1991), Me And Mrs. Jones shows Billy Paul working in a 1990s 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 Trois Poèmes D'amour: Ta Parure Est Secrète without borrowing the same emotional weight.

Trois Poèmes D'amour: Ta Parure Est Secrète by Satie lands here because Keeps the emotional pressure steady after Slide by Slave and turns the color from 1970s into 1990s. Listeners already leaned toward this exact record earlier, so the room comes with a little trust.. The classical edge gives the turn a more precise contour than a plain mood match. Me And Mrs. Jones can step in after it without the handoff feeling pre-chewed.

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. It also leaves a lane for Me And Mrs. Jones to arrive without the segue feeling forced.

Me And Mrs. Jones answers Trois Poèmes D'amour: Ta Parure Est Secrète by Satie 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 Sounds Of The Seventies - Rock 'N' Soul Seventies (1991), Me And Mrs. Jones shows Billy Paul working in a 1990s 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 Trois Poèmes D'amour: Ta Parure Est Secrète without borrowing the same emotional weight.

6 Pièces De La Période: Profondeur by Satie lands here because Me And Mrs. Jones by Billy Paul lifts the mood after a slow-burn ache and provides a fresh turn without cutting the thread.. The classical edge gives the turn a more precise contour than a plain mood match. Me And Mrs. Jones can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 5 (1994), 6 Pièces De La Période: Profondeur 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. It also leaves a lane for Me And Mrs. Jones to arrive without the segue feeling forced.

Me And Mrs. Jones answers 6 Pièces De La Période: Profondeur by Satie 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 Sounds Of The Seventies - Rock 'N' Soul Seventies (1991), Me And Mrs. Jones shows Billy Paul working in a 1990s 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 6 Pièces De La Période: Profondeur without borrowing the same emotional weight.

Trois Poèmes D'amour: Ta Parure Est Secrète by Satie lands here because Me And Mrs. Jones by Billy Paul provides a fresh turn after Slide by Slave and changes the sentence enough to keep the hour feeling authored.. The classical edge gives the turn a more precise contour than a plain mood match. Me And Mrs. Jones can step in after it without the handoff feeling pre-chewed.

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. It also leaves a lane for Me And Mrs. Jones to arrive without the segue feeling forced.

Me And Mrs. Jones answers Trois Poèmes D'amour: Ta Parure Est Secrète by Satie 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 Sounds Of The Seventies - Rock 'N' Soul Seventies (1991), Me And Mrs. Jones shows Billy Paul working in a 1990s 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 Trois Poèmes D'amour: Ta Parure Est Secrète without borrowing the same emotional weight.

Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère by Satie lands here because Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère by Satie states the thesis, and Me And Mrs. Jones by Billy Paul answers it with a fresh turn.. The classical edge gives the turn a more precise contour than a plain mood match. Me And Mrs. Jones can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 8 (1995), Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère 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. It also leaves a lane for Me And Mrs. Jones to arrive without the segue feeling forced.

Me And Mrs. Jones answers Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère by Satie 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 Sounds Of The Seventies - Rock 'N' Soul Seventies (1991), Me And Mrs. Jones shows Billy Paul working in a 1990s 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 Mercure - Poses Plastiques: Deuxième Tableau, Colère De Cerbère without borrowing the same emotional weight.