Session notes from the booth.

Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads lands here because The Girl Is Mine by Michael Jackson and Carnet D'esquisses Et De Croquis: Exercices by Satie provide a sharp two-step that keeps the emotional pressure steady after Caroline No (Stereo) by The Beach Boys.. The rock edge gives the turn a more precise contour than a plain mood match. The Girl Is Mine can step in after it without the handoff feeling pre-chewed.

On Remain in Light (Deluxe Version) (1980), Houses in Motion (Live at Werchterpark Festival, Belgium) shows Talking Heads working in a 1980s pocket with 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 rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for The Girl Is Mine to arrive without the segue feeling forced.

The Girl Is Mine answers Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads with a related tension instead of a copycat move, so the sequence keeps opening out. The pop edge gives the turn a more precise contour than a plain mood match. Carnet D'esquisses Et De Croquis: Exercices can step in after it without the handoff feeling pre-chewed.

On Thriller (1982), The Girl Is Mine shows Michael Jackson working in a 1980s pocket with pop 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 texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Houses in Motion (Live at Werchterpark Festival, Belgium) without borrowing the same emotional weight. It also leaves a lane for Carnet D'esquisses Et De Croquis: Exercices to arrive without the segue feeling forced.

Carnet D'esquisses Et De Croquis: Exercices answers The Girl Is Mine by Michael Jackson 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 5 (1994), Carnet D'esquisses Et De Croquis: Exercices shows Satie working in a 1990s pocket with classical 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 classical texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers The Girl Is Mine 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.

Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads lands here because The Prophet Returns by The Sun Ra Arkestra and Moonlight Drive (Remastered) by The Doors create a sharp two-step that keeps the emotional pressure steady while introducing new elements to the set.. The rock edge gives the turn a more precise contour than a plain mood match. The Prophet Returns can step in after it without the handoff feeling pre-chewed.

On Remain in Light (Deluxe Version) (1980), Houses in Motion (Live at Werchterpark Festival, Belgium) shows Talking Heads working in a 1980s pocket with 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 rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for The Prophet Returns to arrive without the segue feeling forced.

The Prophet Returns answers Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads 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. 6 Pièces De La Période: Songe-Creux can step in after it without the handoff feeling pre-chewed.

On Prophet (2022), The Prophet Returns shows The Sun Ra Arkestra 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.

This one is airing as a clipped passage, so listen for the section Mr Rassy chose to stand in for the whole piece. The choice was deliberate: The track is an album-side suite and provides a unique listening experience. A clip from the opening will give listeners a taste without overwhelming the set.. 6 Pièces De La Période: Songe-Creux is waiting on the far side of that seam.

6 Pièces De La Période: Songe-Creux answers The Prophet Returns by The Sun Ra Arkestra 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 5 (1994), 6 Pièces De La Période: Songe-Creux shows Satie working in a 1990s pocket with classical 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 classical texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers The Prophet Returns without borrowing the same emotional weight.

Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads lands here because Keeps the emotional pressure steady after Boys (The Co-Ed Remix) by Britney Spears feat. Pharrell Williams of N.E.R.D. and changes the palette without cutting the thread.. The rock edge gives the turn a more precise contour than a plain mood match. I’ll Take You There can step in after it without the handoff feeling pre-chewed.

On Remain in Light (Deluxe Version) (1980), Houses in Motion (Live at Werchterpark Festival, Belgium) shows Talking Heads working in a 1980s pocket with 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 rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for I’ll Take You There to arrive without the segue feeling forced.

I’ll Take You There answers Houses in Motion (Live at Werchterpark Festival, Belgium) by Talking Heads with a related tension instead of a copycat move, so the sequence keeps opening out. The art rock edge gives the turn a more precise contour than a plain mood match. Préludes Flasques: Idylle Cynique can step in after it without the handoff feeling pre-chewed.

On The Next Day (2013), I’ll Take You There shows David Bowie working in a 2010s pocket with art 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 art rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Houses in Motion (Live at Werchterpark Festival, Belgium) without borrowing the same emotional weight. It also leaves a lane for Préludes Flasques: Idylle Cynique to arrive without the segue feeling forced.

Préludes Flasques: Idylle Cynique answers I’ll Take You There by David Bowie 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 5 (1994), Préludes Flasques: Idylle Cynique shows Satie working in a 1990s pocket with classical 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 classical 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 You There without borrowing the same emotional weight.