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 Epistrophy (theme - Sunday set one) 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 Presenting “Cannonball” matters because it reads like part of an album world, not a detached single. Caribbean Cutie by Cannonball Adderley With Nat Adderley, Hank Jones, Paul Chambers & Kenny Clarke off Presenting “Cannonball” (1955) works when the set needs collective motion and color instead of blunt force. Cannonball Adderley With Nat Adderley, Hank Jones, Paul Chambers & Kenny Clarke 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 one) by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) instead of crowding the next move.

Epistrophy (theme - Sunday set one) by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) cools the temperature after Caribbean Cutie by Cannonball Adderley With Nat Adderley, Hank Jones, Paul Chambers & Kenny Clarke off Presenting “Cannonball” (1955) and lets the turn breathe. Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt. It leaves War by The Cardigans off The Rest Of The Best (2024) 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 one) 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 War by The Cardigans off The Rest Of The Best (2024) instead of crowding the next move.

War by The Cardigans off The Rest Of The Best (2024) lifts the pressure after Epistrophy (theme - Sunday set one) by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) 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 Rest Of The Best matters because it reads like part of an album world, not a detached single. War by The Cardigans off The Rest Of The Best (2024) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With The Cardigans, 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.

Caribbean Cutie by Cannonball Adderley With Nat Adderley, Hank Jones, Paul Chambers & Kenny Clarke opens with a strong jazz ensemble feel that honors the request for dusky slow-burn lane, while the sequenceSketches provide a clear arc from thesis through hinge to lift. Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt. It leaves Caribbean Cutie by Cannonball Adderley With Nat Adderley, Hank Jones, Paul Chambers & Kenny Clarke off Presenting “Cannonball” (1955) a clean lane instead of boxing the handoff in.

Hearing it against The Epic matters because it reads like part of an album world, not a detached single. Miss Understanding by Kamasi Washington off The Epic (2015) works when the set needs collective motion and color instead of blunt force. Kamasi Washington 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 Caribbean Cutie by Cannonball Adderley With Nat Adderley, Hank Jones, Paul Chambers & Kenny Clarke off Presenting “Cannonball” (1955) instead of crowding the next move.

Caribbean Cutie by Cannonball Adderley With Nat Adderley, Hank Jones, Paul Chambers & Kenny Clarke off Presenting “Cannonball” (1955) stays related to Miss Understanding by Kamasi Washington off The Epic (2015) 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 Epistrophy (theme - Sunday set one) 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 Presenting “Cannonball” matters because it reads like part of an album world, not a detached single. Caribbean Cutie by Cannonball Adderley With Nat Adderley, Hank Jones, Paul Chambers & Kenny Clarke off Presenting “Cannonball” (1955) works when the set needs collective motion and color instead of blunt force. Cannonball Adderley With Nat Adderley, Hank Jones, Paul Chambers & Kenny Clarke 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 one) by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) instead of crowding the next move.

Epistrophy (theme - Sunday set one) by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) cools the temperature after Caribbean Cutie by Cannonball Adderley With Nat Adderley, Hank Jones, Paul Chambers & Kenny Clarke off Presenting “Cannonball” (1955) and lets the turn breathe. Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt.

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 one) 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.

off Green (2013) earns its place when the turn needs shape, contrast, and enough detail to keep the next move honest. It leaves The Girls Want to Be with the Girls (Live) by Talking Heads off Psycho Killer (Live) (2020) a clean lane instead of boxing the handoff in.

Hearing it against Green matters because it reads like part of an album world, not a detached single. off Green (2013) earns its place when the turn needs shape, contrast, and enough detail to keep the next move honest. On Green (2013), it reads as part of a larger album world instead of a stray file in the crate. Hearing it against Green matters because it reads like part of an album world, not a detached single.

Listen for the point where the record suddenly feels larger than the speakers and starts changing the shape of the room. Notice how it hands the weight to The Girls Want to Be with the Girls (Live) by Talking Heads off Psycho Killer (Live) (2020) instead of crowding the next move.

The Girls Want to Be with the Girls (Live) by Talking Heads off Psycho Killer (Live) (2020) cools the temperature after Low by R.E.M. off Green (2013) 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. It leaves War by The Cardigans off The Rest Of The Best (2024) a clean lane instead of boxing the handoff in.

Hearing it against Psycho Killer (Live) matters because it reads like part of an album world, not a detached single. The Girls Want to Be with the Girls (Live) by Talking Heads off Psycho Killer (Live) (2020) 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 War by The Cardigans off The Rest Of The Best (2024) instead of crowding the next move.

War by The Cardigans off The Rest Of The Best (2024) lifts the pressure after The Girls Want to Be with the Girls (Live) by Talking Heads off Psycho Killer (Live) (2020) 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 Rest Of The Best matters because it reads like part of an album world, not a detached single. War by The Cardigans off The Rest Of The Best (2024) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With The Cardigans, 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.

The set begins with 'Well You Needn't' by Miles Davis, a bold choice that honors the request line's lean towards 'Can you keep Tadds Delight by Miles Davis on the line?' while shifting from 2010s into 2020s. It sets the tone for a journey through different musical textures and eras, building on the Talking Heads foundation. The sequence continues with 'Low' by R.E.M. to push the energy upward, followed by 'The Girls Want to Be with the Girls' by Talking Heads to maintain the rock thread. 'War' by The Cardigans introduces a 2020s Pop, Rock shift, while 'You' by Marvin Gaye brings in the 1970s. 'Tonight's The Night' by Neil Young & The Santa Monica Flyers adds acoustic grain, 'Venus in Furs' by The Velvet Underground & Nico keeps rock alive, 'The Carnival of the Animals: The Swan' by Kamils Sensānss introduces Classical, 'Phantom Limb' by The Shins moves into 2000s, and 'All-Night Vigil' by Sergei Rachmaninoff brings in 2000s Classical. The set concludes with 'Everybody Knows This Is Nowhere' by Red Hot Chili Peppers, a strong landing that keeps the momentum. Each transition is designed to build on the previous, creating a cohesive arc that moves through different emotional zones while maintaining the dusky, slow-burn feeling. 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 Well You Needn't (From The Album Steamin' With The Miles Davis Quintet) by Miles Davis off INTEGRAL MILES DAVIS 1951-1956 (2024) a clean lane instead of boxing the handoff in.

Hearing it against The Very Best Of Stan Rogers matters because it reads like part of an album world, not a detached single. The Mary Ellen Carter by STAN ROGERS off The Very Best Of Stan Rogers (2018) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With STAN ROGERS, 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 Well You Needn't (From The Album Steamin' With The Miles Davis Quintet) by Miles Davis off INTEGRAL MILES DAVIS 1951-1956 (2024) instead of crowding the next move.

Well You Needn't (From The Album Steamin' With The Miles Davis Quintet) by Miles Davis off INTEGRAL MILES DAVIS 1951-1956 (2024) stays related to The Mary Ellen Carter by STAN ROGERS off The Very Best Of Stan Rogers (2018) 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 Low by R.E.M. off Out Of Time (1991) a clean lane instead of boxing the handoff in.

Hearing it against INTEGRAL MILES DAVIS 1951-1956 matters because it reads like part of an album world, not a detached single. Well You Needn't (From The Album Steamin' With The Miles Davis Quintet) by Miles Davis off INTEGRAL MILES DAVIS 1951-1956 (2024) works when the set needs collective motion and color instead of blunt force. Miles Davis 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 Low by R.E.M. off Out Of Time (1991) instead of crowding the next move.

Low by R.E.M. off Out Of Time (1991) lifts the pressure after Well You Needn't (From The Album Steamin' With The Miles Davis Quintet) by Miles Davis off INTEGRAL MILES DAVIS 1951-1956 (2024) 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 Out Of Time matters because it reads like part of an album world, not a detached single. off Out Of Time (1991) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With R.E.M., 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.