Session notes from the booth.

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 Tadd's Delight by Miles Davis provide a fresh turn while maintaining the emotional arc.. The alternative / indie rock edge gives the turn a more precise contour than a plain mood match. Tadd's Delight (From The Album 'Round About Midnight) 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 Tadd's Delight (From The Album 'Round About Midnight) to arrive without the segue feeling forced.

Tadd's Delight (From The Album 'Round About Midnight) 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 jazz edge gives the turn a more precise contour than a plain mood match.

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. You can hear how it answers A Clean Break (Let's Work) (Live; 2004 Remaster) 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.

A Clean Break (Let's Work) (Live; 2004 Remaster) by Talking Heads lands here because it keeps the soulful / slow-burn ache pull alive without sanding off the grain that makes this hour interesting. The alternative / indie rock edge gives the turn a more precise contour than a plain mood match. Slide 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 Slide to arrive without the segue feeling forced.

Slide 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 soul, funk, r&b edge gives the turn a more precise contour than a plain mood match.

On Slave (1977), Slide shows Slave working in a 1970s pocket with soul, funk, r&b 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 soul, funk, r&b 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.