Session notes from the booth.

Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt. It leaves Tombstone Shadow by Creedence Clearwater Revival off Creedence Clearwater Revival at the Royal Albert Hall (April 14, 1970) (2022) a clean lane instead of boxing the handoff in.

Hearing it against The Complete Thelonious Monk At The It Club matters because it reads like part of an album world, not a detached single. Epistrophy (theme by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) works when the set needs collective motion and color instead of blunt force. Thelonious Monk makes the most sense here as an ensemble proposition: the interest is in how the parts talk to each other, not just one lead line. This one earns its space through moving parts: sections shifting roles, rhythm pushing from underneath, and an arrangement that keeps relocating the center.

Listen for how the lead line, horns or keys, and the rhythm section keep trading weight instead of sitting in fixed roles. Notice how it hands the weight to Tombstone Shadow by Creedence Clearwater Revival off Creedence Clearwater Revival at the Royal Albert Hall (April 14, 1970) (2022) instead of crowding the next move.

Tombstone Shadow by Creedence Clearwater Revival off Creedence Clearwater Revival at the Royal Albert Hall (April 14, 1970) (2022) stays related to Epistrophy (theme by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) through swamp rock, but changes the pocket enough to matter. Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars. It leaves One Way Traffic by Red Hot Chili Peppers off Unlimited Love (2022) a clean lane instead of boxing the handoff in.

Hearing it against Creedence Clearwater Revival at the Royal Albert Hall (April 14, 1970) matters because it reads like part of an album world, not a detached single. Tombstone Shadow by Creedence Clearwater Revival off Creedence Clearwater Revival at the Royal Albert Hall (April 14, 1970) (2022) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With Creedence Clearwater Revival, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead. Notice how it hands the weight to One Way Traffic by Red Hot Chili Peppers off Unlimited Love (2022) instead of crowding the next move.

One Way Traffic by Red Hot Chili Peppers off Unlimited Love (2022) stays related to Tombstone Shadow by Creedence Clearwater Revival off Creedence Clearwater Revival at the Royal Albert Hall (April 14, 1970) (2022) through alternative-rock, but changes the pocket enough to matter. Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars.

Hearing it against Unlimited Love matters because it reads like part of an album world, not a detached single. One Way Traffic by Red Hot Chili Peppers off Unlimited Love (2022) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With Red Hot Chili Peppers, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead.

Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt. It leaves Runnin' Blue (2019 Remaster) by The Doors off The Soft Parade (50th Anniversary Deluxe Edition) (1969) a clean lane instead of boxing the handoff in.

Hearing it against Composer Of Black Orpheus Plays And Sings Bossa Nova matters because it reads like part of an album world, not a detached single. Sambalamento by Luiz Bonfá off Composer Of Black Orpheus Plays And Sings Bossa Nova (1963) works when the set needs collective motion and color instead of blunt force. Luiz Bonfá makes the most sense here as an ensemble proposition: the interest is in how the parts talk to each other, not just one lead line. This one earns its space through moving parts: sections shifting roles, rhythm pushing from underneath, and an arrangement that keeps relocating the center.

Listen for how the lead line, horns or keys, and the rhythm section keep trading weight instead of sitting in fixed roles. Notice how it hands the weight to Runnin' Blue (2019 Remaster) by The Doors off The Soft Parade (50th Anniversary Deluxe Edition) (1969) instead of crowding the next move.

Runnin' Blue (2019 Remaster) by The Doors off The Soft Parade (50th Anniversary Deluxe Edition) (1969) stays related to Sambalamento by Luiz Bonfá off Composer Of Black Orpheus Plays And Sings Bossa Nova (1963) through rock, but changes the pocket enough to matter. Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars. It leaves 1000 ft Hands (Final Mix) by The Flaming Lips off The Soft Bulletin Companion (1999) a clean lane instead of boxing the handoff in.

Hearing it against The Soft Parade (50th Anniversary Deluxe Edition) matters because it reads like part of an album world, not a detached single. Runnin' Blue (2019 Remaster) by The Doors off The Soft Parade (50th Anniversary Deluxe Edition) (1969) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With The Doors, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead. Notice how it hands the weight to 1000 ft Hands (Final Mix) by The Flaming Lips off The Soft Bulletin Companion (1999) instead of crowding the next move.

1000 ft Hands (Final Mix) by The Flaming Lips off The Soft Bulletin Companion (1999) cools the temperature after Runnin' Blue (2019 Remaster) by The Doors off The Soft Parade (50th Anniversary Deluxe Edition) (1969) and lets the turn breathe. Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars.

Hearing it against The Soft Bulletin Companion matters because it reads like part of an album world, not a detached single. 1000 ft Hands (Final Mix) by The Flaming Lips off The Soft Bulletin Companion (1999) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With The Flaming Lips, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead.

Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt. It leaves Epistrophy (theme - Sunday set three) by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) a clean lane instead of boxing the handoff in.

Hearing it against Porgy And Bess matters because it reads like part of an album world, not a detached single. Fishermen, Strawberry And Devil Crab by Miles Davis & Gil Evans off Porgy And Bess (1959) works when the set needs collective motion and color instead of blunt force. Miles Davis & Gil Evans makes the most sense here as an ensemble proposition: the interest is in how the parts talk to each other, not just one lead line. This one earns its space through moving parts: sections shifting roles, rhythm pushing from underneath, and an arrangement that keeps relocating the center.

Listen for how the lead line, horns or keys, and the rhythm section keep trading weight instead of sitting in fixed roles. Notice how it hands the weight to Epistrophy (theme - Sunday set three) by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) instead of crowding the next move.

Epistrophy (theme - Sunday set three) by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) stays related to Fishermen, Strawberry And Devil Crab by Miles Davis & Gil Evans off Porgy And Bess (1959) through jazz, but changes the pocket enough to matter. Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt. It leaves Take Me To The Alley by Gregory Porter off Take Me To The Alley (2016) a clean lane instead of boxing the handoff in.

Hearing it against The Complete Thelonious Monk At The It Club matters because it reads like part of an album world, not a detached single. Epistrophy (theme - Sunday set three) by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) works when the set needs collective motion and color instead of blunt force. Thelonious Monk makes the most sense here as an ensemble proposition: the interest is in how the parts talk to each other, not just one lead line. This one earns its space through moving parts: sections shifting roles, rhythm pushing from underneath, and an arrangement that keeps relocating the center.

Listen for how the lead line, horns or keys, and the rhythm section keep trading weight instead of sitting in fixed roles. Notice how it hands the weight to Take Me To The Alley by Gregory Porter off Take Me To The Alley (2016) instead of crowding the next move.

Take Me To The Alley by Gregory Porter off Take Me To The Alley (2016) lifts the pressure after Epistrophy (theme - Sunday set three) by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) without snapping the thread. Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt.

Hearing it against Take Me To The Alley matters because it reads like part of an album world, not a detached single. Take Me To The Alley by Gregory Porter off Take Me To The Alley (2016) works when the set needs collective motion and color instead of blunt force. Gregory Porter makes the most sense here as an ensemble proposition: the interest is in how the parts talk to each other, not just one lead line. This one earns its space through moving parts: sections shifting roles, rhythm pushing from underneath, and an arrangement that keeps relocating the center.

Listen for how the lead line, horns or keys, and the rhythm section keep trading weight instead of sitting in fixed roles.

Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt. It leaves Crosseyed and Painless by Talking Heads off Remain In Light (1980) a clean lane instead of boxing the handoff in.

Hearing it against Sinatra And Swingin' Brass matters because it reads like part of an album world, not a detached single. I'm Beginning To See The Light by Frank Sinatra off Sinatra And Swingin' Brass (2014) works when the set needs collective motion and color instead of blunt force. Frank Sinatra makes the most sense here as an ensemble proposition: the interest is in how the parts talk to each other, not just one lead line. This one earns its space through moving parts: sections shifting roles, rhythm pushing from underneath, and an arrangement that keeps relocating the center.

Listen for how the lead line, horns or keys, and the rhythm section keep trading weight instead of sitting in fixed roles. Notice how it hands the weight to Crosseyed and Painless by Talking Heads off Remain In Light (1980) instead of crowding the next move.

Crosseyed and Painless by Talking Heads off Remain In Light (1980) stays related to I'm Beginning To See The Light by Frank Sinatra off Sinatra And Swingin' Brass (2014) through pop, rock, but changes the pocket enough to matter. Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars. It leaves Rope by Foo Fighters off Wasting Light (2011) a clean lane instead of boxing the handoff in.

Hearing it against Remain In Light matters because it reads like part of an album world, not a detached single. Crosseyed and Painless by Talking Heads off Remain In Light (1980) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With Talking Heads, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead. Notice how it hands the weight to Rope by Foo Fighters off Wasting Light (2011) instead of crowding the next move.

Rope by Foo Fighters off Wasting Light (2011) stays related to Crosseyed and Painless by Talking Heads off Remain In Light (1980) through pop, rock, but changes the pocket enough to matter. Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars.

Hearing it against Wasting Light matters because it reads like part of an album world, not a detached single. Rope by Foo Fighters off Wasting Light (2011) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With Foo Fighters, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead.

Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt. It leaves The Prophet Returns by The Sun Ra Arkestra off Prophet (2022) a clean lane instead of boxing the handoff in.

Hearing it against Art Blakey & the Jazz Messengers matters because it reads like part of an album world, not a detached single. You Don't Know What Love Is by Art Blakey & the Jazz Messengers off Art Blakey & the Jazz Messengers (1961) works when the set needs collective motion and color instead of blunt force. Art Blakey & the Jazz Messengers makes the most sense here as an ensemble proposition: the interest is in how the parts talk to each other, not just one lead line. This one earns its space through moving parts: sections shifting roles, rhythm pushing from underneath, and an arrangement that keeps relocating the center.

Listen for how the lead line, horns or keys, and the rhythm section keep trading weight instead of sitting in fixed roles. Notice how it hands the weight to The Prophet Returns by The Sun Ra Arkestra off Prophet (2022) instead of crowding the next move.

The Prophet Returns by The Sun Ra Arkestra off Prophet (2022) stays related to You Don't Know What Love Is by Art Blakey & the Jazz Messengers off Art Blakey & the Jazz Messengers (1961) through jazz, but changes the pocket enough to matter. Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt. It leaves People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine off The Battle Of Mexico City (2020) a clean lane instead of boxing the handoff in.

Hearing it against Prophet matters because it reads like part of an album world, not a detached single. The Prophet Returns by The Sun Ra Arkestra off Prophet (2022) works when the set needs collective motion and color instead of blunt force. The Sun Ra Arkestra makes the most sense here as an ensemble proposition: the interest is in how the parts talk to each other, not just one lead line. This one earns its space through moving parts: sections shifting roles, rhythm pushing from underneath, and an arrangement that keeps relocating the center.

Listen for how the lead line, horns or keys, and the rhythm section keep trading weight instead of sitting in fixed roles. Notice how it hands the weight to People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine off The Battle Of Mexico City (2020) instead of crowding the next move.

People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine off The Battle Of Mexico City (2020) lifts the pressure after The Prophet Returns by The Sun Ra Arkestra off Prophet (2022) without snapping the thread. Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars.

Hearing it against The Battle Of Mexico City matters because it reads like part of an album world, not a detached single. People of the Sun (Live, Mexico City, Mexico, October 28, 1999) by Rage Against The Machine off The Battle Of Mexico City (2020) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With Rage Against The Machine, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead.

Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt. It leaves Draggin' The Line by Tommy James off Sounds Of The Seventies - 1971: Take Two (1990) a clean lane instead of boxing the handoff in.

Hearing it against Porgy And Bess matters because it reads like part of an album world, not a detached single. Fishermen, Strawberry And Devil Crab by Miles Davis & Gil Evans off Porgy And Bess (1959) works when the set needs collective motion and color instead of blunt force. Miles Davis & Gil Evans makes the most sense here as an ensemble proposition: the interest is in how the parts talk to each other, not just one lead line. This one earns its space through moving parts: sections shifting roles, rhythm pushing from underneath, and an arrangement that keeps relocating the center.

Listen for how the lead line, horns or keys, and the rhythm section keep trading weight instead of sitting in fixed roles. Notice how it hands the weight to Draggin' The Line by Tommy James off Sounds Of The Seventies - 1971: Take Two (1990) instead of crowding the next move.

Draggin' The Line by Tommy James off Sounds Of The Seventies - 1971: Take Two (1990) stays related to Fishermen, Strawberry And Devil Crab by Miles Davis & Gil Evans off Porgy And Bess (1959) through rock, but changes the pocket enough to matter. Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars. It leaves Good Morning Good Morning by The Beatles off Sgt. Pepper’s Lonely Hearts Club Band (1967) a clean lane instead of boxing the handoff in.

Hearing it against Sounds Of The Seventies - 1971: Take Two matters because it reads like part of an album world, not a detached single. Draggin' The Line by Tommy James off Sounds Of The Seventies - 1971: Take Two (1990) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With Tommy James, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead. Notice how it hands the weight to Good Morning Good Morning by The Beatles off Sgt. Pepper’s Lonely Hearts Club Band (1967) instead of crowding the next move.

Good Morning Good Morning by The Beatles off Sgt. Pepper’s Lonely Hearts Club Band (1967) stays related to Draggin' The Line by Tommy James off Sounds Of The Seventies - 1971: Take Two (1990) through rock, but changes the pocket enough to matter. Reach for it when the turn needs shape, attack, and a record that can define the next move in just a few bars.

Pepper’s Lonely Hearts Club Band matters because it reads like part of an album world, not a detached single. Pepper’s Lonely Hearts Club Band (1967) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With The Beatles, the attraction is often attack and arrangement economy: what the band can say quickly and physically. The record earns its place through how the arrangement opens and tightens rather than through sheer mass.

Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead.