Session notes from the booth.

Gold und Silber (Gold and Silver), Op. 79 by Slovak Radio Symphony Orchestra, Michael Dittrich lands here because it keeps the soulful / crisp charge pull alive without sanding off the grain that makes this hour interesting. The classical edge gives the turn a more precise contour than a plain mood match. Ballad of Sir Frankie Crisp (Let It Roll) can step in after it without the handoff feeling pre-chewed.

On 101 Classics - CD 1 (8) The Great Waltzes (2008), Gold und Silber (Gold and Silver), Op. 79 shows Slovak Radio Symphony Orchestra, Michael Dittrich working in a 2000s 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. It also leaves a lane for Ballad of Sir Frankie Crisp (Let It Roll) to arrive without the segue feeling forced.

Ballad of Sir Frankie Crisp (Let It Roll) answers Gold und Silber (Gold and Silver), Op. 79 by Slovak Radio Symphony Orchestra, Michael Dittrich 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. The Sun Always Shines On T.V. (Extended Mix) can step in after it without the handoff feeling pre-chewed.

On All Things Must Pass (1970), Ballad of Sir Frankie Crisp (Let It Roll) shows George Harrison working in a 1970s 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. You can hear how it answers Gold und Silber (Gold and Silver), Op. 79 without borrowing the same emotional weight. It also leaves a lane for The Sun Always Shines On T.V. (Extended Mix) to arrive without the segue feeling forced.

The Sun Always Shines On T.V. (Extended Mix) answers Ballad of Sir Frankie Crisp (Let It Roll) by George Harrison with a related tension instead of a copycat move, so the sequence keeps opening out.

On Now That’s What I Call 12' 80s (2021), The Sun Always Shines On T.V. (Extended Mix) shows A‐Ha working in a 2020s pocket. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it.

Listen for the arrangement hinge where the rhythm section and the lead line stop shadowing each other and start pulling against each other. You can hear how it answers Ballad of Sir Frankie Crisp (Let It Roll) without borrowing the same emotional weight.

Drive by Blind Melon lands here because Extend the feeling that follows Gold und Silber (Gold and Silver), Op. 79 by Slovak Radio Symphony Orchestra, Michael Dittrich without sounding automatic.. The alternative rock edge gives the turn a more precise contour than a plain mood match. Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin can step in after it without the handoff feeling pre-chewed.

On Blind Melon (1992), Drive shows Blind Melon working in a 1990s pocket with alternative 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 alternative rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin to arrive without the segue feeling forced.

Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin answers Drive by Blind Melon 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. A Clean Break (Live) can step in after it without the handoff feeling pre-chewed.

On Complete Piano Works, Volume 8 (1995), Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin 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 Drive without borrowing the same emotional weight. It also leaves a lane for A Clean Break (Live) to arrive without the segue feeling forced.

A Clean Break (Live) answers Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin by Satie 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.

On Live: 77 (Live) (2019), A Clean Break (Live) shows Talking Heads working in a 2010s pocket with alternative / 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 alternative / rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Cinéma (For Piano 4 Hands): Chûte Du Cerceuil Et Sortie De Börlin without borrowing the same emotional weight.

U Make My Sun Shine by Prince Feat. Angie Stone lands here because it keeps the soulful / sunlit push pull alive without sanding off the grain that makes this hour interesting. The funk/soul/pop edge gives the turn a more precise contour than a plain mood match. Doxy (From The Album Bags'Groove) can step in after it without the handoff feeling pre-chewed.

On Anthology: 1995-2010 (2018), U Make My Sun Shine shows Prince Feat. Angie Stone working in a 2010s pocket with funk/soul/pop 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 funk/soul/pop texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Doxy (From The Album Bags'Groove) to arrive without the segue feeling forced.

Doxy (From The Album Bags'Groove) answers U Make My Sun Shine by Prince Feat. Angie Stone 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. Gold und Silber (Gold and Silver), Op. 79 can step in after it without the handoff feeling pre-chewed.

On INTEGRAL MILES DAVIS 1951-1956 (2024), Doxy (From The Album Bags'Groove) shows Miles Davis working in a 2020s 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 U Make My Sun Shine without borrowing the same emotional weight. It also leaves a lane for Gold und Silber (Gold and Silver), Op. 79 to arrive without the segue feeling forced.

Gold und Silber (Gold and Silver), Op. 79 answers Doxy (From The Album Bags'Groove) 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 101 Classics - CD 1 (8) The Great Waltzes (2008), Gold und Silber (Gold and Silver), Op. 79 shows Slovak Radio Symphony Orchestra, Michael Dittrich working in a 2000s 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 Doxy (From The Album Bags'Groove) without borrowing the same emotional weight.