Session notes from the booth.

Easy Living by Stan Getz lands here because This Bright Flash by M83 sets a strong emotional tone, and transitioning into the '90s with Down Here (With The Rest Of Us) by Social Distortion will keep the energy high while providing a fresh perspective.. The jazz edge gives the turn a more precise contour than a plain mood match. Down Here (With The Rest Of Us) can step in after it without the handoff feeling pre-chewed.

On Spring Is Here (1992), Easy Living shows Stan Getz working in a 1990s 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. Inside White Light White Heat White Trash run, it reads as curation rather than stunt programming.

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 Down Here (With The Rest Of Us) to arrive without the segue feeling forced.

Down Here (With The Rest Of Us) keeps white light white heat white trash run honest by sounding like a real choice inside that lane, not a decorative gesture. The punk rock edge gives the turn a more precise contour than a plain mood match. Under My Thumb can step in after it without the handoff feeling pre-chewed.

On White Light White Heat White Trash (1996), Down Here (With The Rest Of Us) shows Social Distortion working in a 1990s pocket with punk rock in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside White Light White Heat White Trash run, it reads as curation rather than stunt programming.

Listen for the punk rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Easy Living without borrowing the same emotional weight. It also leaves a lane for Under My Thumb to arrive without the segue feeling forced.

Under My Thumb keeps white light white heat white trash run honest by sounding like a real choice inside that lane, not a decorative gesture. The punk rock edge gives the turn a more precise contour than a plain mood match.

On White Light White Heat White Trash (1996), Under My Thumb shows Social Distortion working in a 1990s pocket with punk rock in the grain. The cut moves with a steady shoulder-roll, which is why it can hold this turn without flattening it. Inside White Light White Heat White Trash run, it reads as curation rather than stunt programming.

Listen for the punk rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Down Here (With The Rest Of Us) without borrowing the same emotional weight.

Beggars Day by Crazy Horse lands here because Building a real arc after You Keep Me Hangin' On by Vanilla Fudge without sounding automatic.. The rock edge gives the turn a more precise contour than a plain mood match. Easy Living can step in after it without the handoff feeling pre-chewed.

On Sounds Of The Seventies - Guitar Power (1992), Beggars Day shows Crazy Horse 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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 Easy Living to arrive without the segue feeling forced.

Easy Living keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The jazz edge gives the turn a more precise contour than a plain mood match. You Make It Easy can step in after it without the handoff feeling pre-chewed.

On Spring Is Here (1992), Easy Living shows Stan Getz working in a 1990s 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. Inside Deep shelf drift, it reads as curation rather than stunt programming.

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 Beggars Day without borrowing the same emotional weight. It also leaves a lane for You Make It Easy to arrive without the segue feeling forced.

You Make It Easy keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The electronic edge gives the turn a more precise contour than a plain mood match.

On Moon Safari (1998), You Make It Easy shows Air working in a 1990s pocket with electronic in the grain. The cut moves with a slow-burn glide, which is why it can hold this turn without flattening it. Inside Deep shelf drift, it reads as curation rather than stunt programming.

Listen for the electronic texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Easy Living without borrowing the same emotional weight.

Show And Tell by Al Wilson lands here because Miles Ahead (Mono Master) by Miles Davis & Gil Evans states the thesis, and Slow Burn by David Bowie answers it with a fresh turn.. The 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 Sounds Of The Seventies - 1974 (1990), Show And Tell shows Al Wilson working in a 1990s pocket with 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 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 Show And Tell by Al Wilson 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. Slow Burn 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 Show And Tell without borrowing the same emotional weight. It also leaves a lane for Slow Burn to arrive without the segue feeling forced.

Slow Burn 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 art rock edge gives the turn a more precise contour than a plain mood match.

On Heathen (2002), Slow Burn shows David Bowie working in a 2000s pocket with art 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 art rock 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.

The Captain by The Flaming Lips lands here because The Time Of The Barracudas (2022 Remaster) by Miles Davis -> All Blues by Miles Davis -> Take Me To The Alley by Gregory Porter. The psychedelic rock edge gives the turn a more precise contour than a plain mood match. Take Me To The Alley can step in after it without the handoff feeling pre-chewed.

On The Soft Bulletin Companion (1999), The Captain shows The Flaming Lips working in a 1990s pocket with psychedelic 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 psychedelic rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Take Me To The Alley to arrive without the segue feeling forced.

Take Me To The Alley answers The Captain by The Flaming Lips 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. All Blues can step in after it without the handoff feeling pre-chewed.

On Take Me To The Alley (2016), Take Me To The Alley shows Gregory Porter working in a 2010s 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 The Captain without borrowing the same emotional weight. It also leaves a lane for All Blues to arrive without the segue feeling forced.

All Blues answers Take Me To The Alley by Gregory Porter 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 Kind Of Blue (1959), All Blues shows Miles Davis working in a 1950s 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 Take Me To The Alley without borrowing the same emotional weight.

White Blur 2 by Aphex Twin lands here because Keeps the emotional pressure steady after Tadd's Delight (From The Album 'Round About Midnight) by Miles Davis and turns the color from 2020s into 1990s.. The electronic, ambient, experimental edge gives the turn a more precise contour than a plain mood match. Dear Old Stockholm (From The Album 'Round About Midnight) can step in after it without the handoff feeling pre-chewed.

On Disc 2 - Selected Ambient Works Volume II (1994), White Blur 2 shows Aphex Twin working in a 1990s pocket with electronic, ambient, experimental 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 electronic, ambient, experimental texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Dear Old Stockholm (From The Album 'Round About Midnight) to arrive without the segue feeling forced.

Dear Old Stockholm (From The Album 'Round About Midnight) answers White Blur 2 by Aphex Twin 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. Star Me Kitten can step in after it without the handoff feeling pre-chewed.

On INTEGRAL MILES DAVIS 1951-1956 (2024), Dear Old Stockholm (From The Album 'Round About Midnight) shows Miles Davis working in a 2020s pocket with jazz in the grain. The cut moves with a candlelit drift, 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 White Blur 2 without borrowing the same emotional weight. It also leaves a lane for Star Me Kitten to arrive without the segue feeling forced.

Star Me Kitten answers Dear Old Stockholm (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 rock edge gives the turn a more precise contour than a plain mood match.

On Automatic For The People (1992), Star Me Kitten shows R.E.M. working in a 1990s pocket with 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 rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Dear Old Stockholm (From The Album 'Round About Midnight) without borrowing the same emotional weight.