Session notes from the booth.

Miles Ahead (Mono Master) by Miles Davis & Gil Evans lands here because Aftermath by R.E.M. keeps the emotional pressure steady after Piano Sonata No.1 in F Minor Op.2 - II. Adagio by Mari Kodama and changes the palette without cutting the thread.. The jazz edge gives the turn a more precise contour than a plain mood match. Aftermath can step in after it without the handoff feeling pre-chewed.

On 1986-1991: The Warner Years (CD4) (2011), Miles Ahead (Mono Master) shows Miles Davis & Gil Evans 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. 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. It also leaves a lane for Aftermath to arrive without the segue feeling forced.

Aftermath keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The rock edge gives the turn a more precise contour than a plain mood match. Black Hole Sun (Album Version) can step in after it without the handoff feeling pre-chewed.

On Around The Sun (2004), Aftermath shows R.E.M. working in a 2000s 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. 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. You can hear how it answers Miles Ahead (Mono Master) without borrowing the same emotional weight. It also leaves a lane for Black Hole Sun (Album Version) to arrive without the segue feeling forced.

Black Hole Sun (Album Version) keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The pop, rock edge gives the turn a more precise contour than a plain mood match.

On Telephantasm (2010), Black Hole Sun (Album Version) shows Soundgarden working in a 2010s pocket with pop, rock 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 pop, rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Aftermath without borrowing the same emotional weight.

The Jam Session by Miles Davis lands here because Requiem in D Minor, K. 626: Xv. Lux Aeterna by Wolfgang Amadeus Mozart and Piano Sonata No.1 in F Minor Op.2 - II. Adagio by Mari Kodama provide a fresh turn after Je Te Veux by Satie without cutting the thread.. The jazz edge gives the turn a more precise contour than a plain mood match. Requiem in D Minor, K. 626: Xv. Lux Aeterna can step in after it without the handoff feeling pre-chewed.

On 1986-1991: The Warner Years (CD2) (2011), The Jam Session shows Miles Davis 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. It also leaves a lane for Requiem in D Minor, K. 626: Xv. Lux Aeterna to arrive without the segue feeling forced.

Requiem in D Minor, K. 626: Xv. Lux Aeterna answers The Jam Session 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. Piano Sonata No.1 in F Minor Op.2 - II. Adagio can step in after it without the handoff feeling pre-chewed.

On Requiem: Reconstruction of First Performance (2014), Requiem in D Minor, K. 626: Xv. Lux Aeterna shows Wolfgang Amadeus Mozart working in a 2010s 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 The Jam Session without borrowing the same emotional weight. It also leaves a lane for Piano Sonata No.1 in F Minor Op.2 - II. Adagio to arrive without the segue feeling forced.

Piano Sonata No.1 in F Minor Op.2 - II. Adagio answers Requiem in D Minor, K. 626: Xv. Lux Aeterna by Wolfgang Amadeus Mozart 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 Beethoven. Piano Sonatas Nos. 1, 2, 3 (2008), Piano Sonata No.1 in F Minor Op.2 - II. Adagio shows Mari Kodama working in a 2000s 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 Requiem in D Minor, K. 626: Xv. Lux Aeterna without borrowing the same emotional weight.

If She Knew What She Wants (Extended Remix) by Bangles lands here because Miles Ahead (Mono Master) by Miles Davis & Gil Evans and Je Te Veux by Satie provide a smooth emotional arc, keeping the station's mood steady while offering fresh turns.. The pop/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 Gold (2) (2020), If She Knew What She Wants (Extended Remix) shows Bangles working in a 2020s pocket with pop/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 pop/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 If She Knew What She Wants (Extended Remix) by Bangles 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. Je Te Veux 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 If She Knew What She Wants (Extended Remix) without borrowing the same emotional weight. It also leaves a lane for Je Te Veux to arrive without the segue feeling forced.

Je Te Veux 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 classical edge gives the turn a more precise contour than a plain mood match.

On Complete Piano Works, Volume 3 (1994), Je Te Veux 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 Miles Ahead (Mono Master) without borrowing the same emotional weight.

Don't Let The Sun Go Down On Me by Elton John lands here because Keeps the emotional pressure steady after If She Knew What She Wants (Extended Remix) by Bangles and turns the color from 2020s into 2010s.. The pop/rock edge gives the turn a more precise contour than a plain mood match. Build It Up can step in after it without the handoff feeling pre-chewed.

On Rocket Man: The Definitive Hits (2007), Don't Let The Sun Go Down On Me shows Elton John working in a 2000s pocket with pop/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 pop/rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. It also leaves a lane for Build It Up to arrive without the segue feeling forced.

Build It Up answers Don't Let The Sun Go Down On Me by Elton John with a related tension instead of a copycat move, so the sequence keeps opening out. The alternative & indie edge gives the turn a more precise contour than a plain mood match. The Jam Session can step in after it without the handoff feeling pre-chewed.

On The Human Fear (2025), Build It Up shows Franz Ferdinand working in a 2020s pocket with alternative & indie 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 texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Don't Let The Sun Go Down On Me without borrowing the same emotional weight. It also leaves a lane for The Jam Session to arrive without the segue feeling forced.

The Jam Session answers Build It Up by Franz Ferdinand 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 1986-1991: The Warner Years (CD2) (2011), The Jam Session shows Miles Davis 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 Build It Up without borrowing the same emotional weight.

I'm Beginning To See The Light by Frank Sinatra lands here because it keeps the soulful / sun-on-concrete glow pull alive without sanding off the grain that makes this hour interesting. The jazz edge gives the turn a more precise contour than a plain mood match. Concrete Jungle can step in after it without the handoff feeling pre-chewed.

On Sinatra And Swingin' Brass (2014), I'm Beginning To See The Light shows Frank Sinatra 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. 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. It also leaves a lane for Concrete Jungle to arrive without the segue feeling forced.

Concrete Jungle keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The reggae edge gives the turn a more precise contour than a plain mood match. Don't Let The Sun Go Down On Me can step in after it without the handoff feeling pre-chewed.

On Catch a Fire (1973), Concrete Jungle shows Bob Marley & the Wailers working in a 1970s pocket with reggae 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 reggae texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers I'm Beginning To See The Light without borrowing the same emotional weight. It also leaves a lane for Don't Let The Sun Go Down On Me to arrive without the segue feeling forced.

Don't Let The Sun Go Down On Me keeps deep shelf drift honest by sounding like a real choice inside that lane, not a decorative gesture. The pop/rock edge gives the turn a more precise contour than a plain mood match.

On Rocket Man: The Definitive Hits (2007), Don't Let The Sun Go Down On Me shows Elton John working in a 2000s pocket with pop/rock 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 pop/rock texture in the pocket, especially in the way the arrangement keeps color moving under the lead. You can hear how it answers Concrete Jungle without borrowing the same emotional weight.

I'll Take The Rain by R.E.M. lands here because Keeps the emotional pressure steady after Finale by Daft Punk and turns the color from 10s into 2020s.. The rock edge gives the turn a more precise contour than a plain mood match. Bastards Of Light can step in after it without the handoff feeling pre-chewed.

On Reveal (2001), I'll Take The Rain shows R.E.M. working in a 2000s 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 Bastards Of Light to arrive without the segue feeling forced.

Bastards Of Light answers I'll Take The Rain by R.E.M. 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. I'm Beginning To See The Light can step in after it without the handoff feeling pre-chewed.

On Unlimited Love (2022), Bastards Of Light shows Red Hot Chili Peppers working in a 2020s pocket with alternative-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-rock 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 The Rain without borrowing the same emotional weight. It also leaves a lane for I'm Beginning To See The Light to arrive without the segue feeling forced.

I'm Beginning To See The Light answers Bastards Of Light by Red Hot Chili Peppers 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 Sinatra And Swingin' Brass (2014), I'm Beginning To See The Light shows Frank Sinatra 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 Bastards Of Light 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.