11 saved turns
Lineup logic first. Song notes right behind it.
Jazz slow burn / velvet staticLive booth noteMay 28, 20267:43 AM
Caribbean Cutie is the thesis, and Epistrophy (theme - Sunday set one) is the answer waiting on deck.
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. Epistrophy (theme - Sunday set one) is already changing how the current record reads.
Record in focus
Caribbean Cutie
Cannonball Adderley With Nat Adderley, Hank Jones, Paul Chambers & Kenny Clarke
Presenting “Cannonball” · 1955 · Jazz
Lineup note
Caribbean Cutie into Epistrophy (theme - Sunday set one)
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.
Track context
Presenting “Cannonball” · 1955
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
What to catch in the arrangement
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.
Cannonball Adderley With Nat Adderley, Hank Jones, Paul Chambers & Kenny ClarkeThelonious MonkThe CardigansJazzPop, RockRockjazz slow burn / velvet staticdeep nightvelvet staticJazz
Session map
3 stored song notes
01now
Caribbean Cutie
Cannonball Adderley With Nat Adderley, Hank Jones, Paul Chambers & Kenny Clarke
Why it fits
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.
Track context
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
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.
02next
Epistrophy (theme - Sunday set one)
Thelonious Monk
Why it fits
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.
Track context
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
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.
03later
Why it fits
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.
Track context
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
Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead.
Open saved booth copy
We're still in that dusky, slow-burn lane you asked for, and this next one keeps the spell going. It's a little more of that 2020s vibe, but still grounded in the same feeling that followed Johnny, Kick A Hole In The Sky — Miles Davis, 'Well You Needn't'. The arrangement's got that classic interplay between lead and rhythm section, which is exactly what we need right now to keep the conversation going. It's a bit of a lift, but not a jolt, and it's got that same warmth in the low end you were looking for. We're extending the feeling, not flattening it.
Jazz slow burn / low lit driftLive booth noteMay 28, 20265:48 AM
I Don't Wanna Be Kissed (By Anyone But You) [piano take 4] is the thesis, and Chaos is the answer waiting on deck.
Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt. It leaves Chaos by Wayne Shorter off The All Seeing Eye (1966) a clean lane instead of boxing the handoff in. Chaos is already changing how the current record reads.
Record in focus
I Don't Wanna Be Kissed (By Anyone But You) [piano take 4]
Miles Davis & Gil Evans
The Complete Columbia Studio Recordings [Disc 6] · 2004 · Jazz
Lineup note
I Don't Wanna Be Kissed (By Anyone But You) [piano take 4] into Chaos
Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt. It leaves Chaos by Wayne Shorter off The All Seeing Eye (1966) a clean lane instead of boxing the handoff in.
Track context
The Complete Columbia Studio Recordings [Disc 6] · 2004
Hearing it against The Complete Columbia Studio Recordings [Disc 6] matters because it reads like part of an album world, not a detached single. I Don't Wanna Be Kissed (By Anyone But You) [piano take 4] by Miles Davis & Gil Evans off The Complete Columbia Studio Recordings [Disc 6] (2004) 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
What to catch in the arrangement
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 Chaos by Wayne Shorter off The All Seeing Eye (1966) instead of crowding the next move.
Miles Davis & Gil EvansWayne ShorterLisa EkdahlJazzJazz, Jazz vocaljazz slow burn / low-lit driftdeep nightlow-lit driftJazz
Session map
3 stored song notes
01now
I Don't Wanna Be Kissed (By Anyone But You) [piano take 4]
Miles Davis & Gil Evans
Why it fits
Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt. It leaves Chaos by Wayne Shorter off The All Seeing Eye (1966) a clean lane instead of boxing the handoff in.
Track context
Hearing it against The Complete Columbia Studio Recordings [Disc 6] matters because it reads like part of an album world, not a detached single. I Don't Wanna Be Kissed (By Anyone But You) [piano take 4] by Miles Davis & Gil Evans off The Complete Columbia Studio Recordings [Disc 6] (2004) 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
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 Chaos by Wayne Shorter off The All Seeing Eye (1966) instead of crowding the next move.
02next
Why it fits
Chaos by Wayne Shorter off The All Seeing Eye (1966) cools the temperature after I Don't Wanna Be Kissed (By Anyone But You) [piano take 4] by Miles Davis & Gil Evans off The Complete Columbia Studio Recordings [Disc 6] (2004) 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 Playful Heart of Mine by Lisa Ekdahl off More of the Good (2018) a clean lane instead of boxing the handoff in.
Track context
Hearing it against The All Seeing Eye matters because it reads like part of an album world, not a detached single. Chaos by Wayne Shorter off The All Seeing Eye (1966) works when the set needs collective motion and color instead of blunt force. Wayne Shorter 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
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 Playful Heart of Mine by Lisa Ekdahl off More of the Good (2018) instead of crowding the next move.
03later
Playful Heart of Mine
Lisa Ekdahl
Why it fits
Playful Heart of Mine by Lisa Ekdahl off More of the Good (2018) stays related to Chaos by Wayne Shorter off The All Seeing Eye (1966) through jazz, jazz vocal, 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.
Track context
Hearing it against More of the Good matters because it reads like part of an album world, not a detached single. Playful Heart of Mine by Lisa Ekdahl off More of the Good (2018) works when the set needs collective motion and color instead of blunt force. Lisa Ekdahl 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
Listen for how the lead line, horns or keys, and the rhythm section keep trading weight instead of sitting in fixed roles.
Open saved booth copy
This one’s a hinge. Miles, in a rare piano take, leaning into the quiet weight of 'In Your Own Sweet Way'—not just a song, but a conversation between hands. The rhythm doesn’t drive; it breathes. And the space between notes? That’s where the story lives.
Jazz slow burn / low lit driftLive booth noteMay 28, 20264:04 AM
Low is the thesis, and Epistrophy (theme - Sunday set one) is the answer waiting on deck.
off Green (2013) earns its place when the turn needs shape, contrast, and enough detail to keep the next move honest. 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. Epistrophy (theme - Sunday set one) is already changing how the current record reads.
Record in focus
Low
R.E.M.
Green · 2013
Lineup note
Low into Epistrophy (theme - Sunday set one)
off Green (2013) earns its place when the turn needs shape, contrast, and enough detail to keep the next move honest. 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.
Track context
Green · 2013
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
What to catch in the arrangement
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 Epistrophy (theme - Sunday set one) by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) instead of crowding the next move.
R.E.M.Thelonious MonkThe Miles Davis QuintetJazzjazz slow burn / low-lit driftdeep nightlow-lit drift2010s pull
Session map
3 stored song notes
01now
Why it fits
off Green (2013) earns its place when the turn needs shape, contrast, and enough detail to keep the next move honest. 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.
Track context
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
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 Epistrophy (theme - Sunday set one) by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) instead of crowding the next move.
02next
Epistrophy (theme - Sunday set one)
Thelonious Monk
Why it fits
Epistrophy (theme - Sunday set one) by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) cools the temperature after Low by R.E.M. off Green (2013) 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 The Theme (Take 2) by The Miles Davis Quintet off Workin' With The Miles Davis Quintet (1959) a clean lane instead of boxing the handoff in.
Track context
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
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 Theme (Take 2) by The Miles Davis Quintet off Workin' With The Miles Davis Quintet (1959) instead of crowding the next move.
03later
The Theme (Take 2)
The Miles Davis Quintet
Why it fits
The Theme (Take 2) by The Miles Davis Quintet off Workin' With The Miles Davis Quintet (1959) 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 set needs lift, conversation between parts, and something that can move without turning blunt.
Track context
Hearing it against Workin' With The Miles Davis Quintet matters because it reads like part of an album world, not a detached single. The Theme (Take 2) by The Miles Davis Quintet off Workin' With The Miles Davis Quintet (1959) works when the set needs collective motion and color instead of blunt force. The Miles Davis Quintet 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
Listen for how the lead line, horns or keys, and the rhythm section keep trading weight instead of sitting in fixed roles.
Open saved booth copy
We're holding the line on Miles Davis, and I'm gonna let the next turn breathe after Salt Peanuts. This one's got that warm low end you asked for, and it keeps the jazz conversation going without flattening the hour.
Jazz slow burn / after hours electricityLive booth noteMay 28, 20262:13 AM
Low is the thesis, and The Theme (Take 2) is the answer waiting on deck.
off Green (2013) earns its place when the turn needs shape, contrast, and enough detail to keep the next move honest. It leaves The Theme (Take 2) by The Miles Davis Quintet off Workin' With The Miles Davis Quintet (1959) a clean lane instead of boxing the handoff in. The Theme (Take 2) is already changing how the current record reads.
Record in focus
Low
R.E.M.
Green · 2013
Lineup note
Low into The Theme (Take 2)
off Green (2013) earns its place when the turn needs shape, contrast, and enough detail to keep the next move honest. It leaves The Theme (Take 2) by The Miles Davis Quintet off Workin' With The Miles Davis Quintet (1959) a clean lane instead of boxing the handoff in.
Track context
Green · 2013
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
What to catch in the arrangement
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 Theme (Take 2) by The Miles Davis Quintet off Workin' With The Miles Davis Quintet (1959) instead of crowding the next move.
R.E.M.The Miles Davis QuintetThelonious MonkJazzRockjazz slow burn / after-hours electricityafter-hoursafter-hours electricity2010s pull
Session map
3 stored song notes
01now
Why it fits
off Green (2013) earns its place when the turn needs shape, contrast, and enough detail to keep the next move honest. It leaves The Theme (Take 2) by The Miles Davis Quintet off Workin' With The Miles Davis Quintet (1959) a clean lane instead of boxing the handoff in.
Track context
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
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 Theme (Take 2) by The Miles Davis Quintet off Workin' With The Miles Davis Quintet (1959) instead of crowding the next move.
02next
The Theme (Take 2)
The Miles Davis Quintet
Why it fits
The Theme (Take 2) by The Miles Davis Quintet off Workin' With The Miles Davis Quintet (1959) cools the temperature after Low by R.E.M. off Green (2013) 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 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.
Track context
Hearing it against Workin' With The Miles Davis Quintet matters because it reads like part of an album world, not a detached single. The Theme (Take 2) by The Miles Davis Quintet off Workin' With The Miles Davis Quintet (1959) works when the set needs collective motion and color instead of blunt force. The Miles Davis Quintet 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
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.
03later
Epistrophy (theme - Sunday set one)
Thelonious Monk
Why it fits
Epistrophy (theme - Sunday set one) by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) cools the temperature after The Theme (Take 2) by The Miles Davis Quintet off Workin' With The Miles Davis Quintet (1959) and lets the turn breathe. Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt.
Track context
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
Listen for how the lead line, horns or keys, and the rhythm section keep trading weight instead of sitting in fixed roles.
Open saved booth copy
Right after that deep, smoldering groove of Wishful Sinful, we’re not just coasting—we’re leaning into something richer. This one’s from the 2024 reissue of Miles Davis’ early work, and it’s not just a jazz cut—it’s a slow-burn conversation between horn and pulse. The way the rhythm section just… breathes underneath the lead? That’s Ian’s taste in motion. This isn’t background. It’s the room’s heartbeat.
Jazz slow burn / soft smokeLive booth noteMay 28, 202612:37 AM
War is the thesis, and I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) is the answer waiting on deck.
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 I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes off Elephant (2023) a clean lane instead of boxing the handoff in. I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) is already changing how the current record reads.
Record in focus
War
The Cardigans
The Rest Of The Best · 2024 · Pop, Rock
Lineup note
War into I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003)
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 I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes off Elephant (2023) a clean lane instead of boxing the handoff in.
Track context
The Rest Of The Best · 2024
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
What to catch in the arrangement
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 I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes off Elephant (2023) instead of crowding the next move.
The CardigansThe White StripesThelonious MonkPop, RockPop, Rock, Alternatif et IndéJazzjazz slow burn / soft smokesunsetsoft smokePop, Rock
Session map
3 stored song notes
01now
Why it fits
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 I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes off Elephant (2023) a clean lane instead of boxing the handoff in.
Track context
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
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 I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes off Elephant (2023) instead of crowding the next move.
02next
I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003)
The White Stripes
Why it fits
I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes off Elephant (2023) lifts the pressure after War by The Cardigans off The Rest Of The Best (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. 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.
Track context
Hearing it against Elephant matters because it reads like part of an album world, not a detached single. I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes off Elephant (2023) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With The White Stripes, 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
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 Epistrophy (theme - Sunday set one) by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) instead of crowding the next move.
03later
Epistrophy (theme - Sunday set one)
Thelonious Monk
Why it fits
Epistrophy (theme - Sunday set one) by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) cools the temperature after I Want To Be The Boy To Warm Your Mother's Heart (Live at The Aragon Ballroom, July 2, 2003) by The White Stripes off Elephant (2023) and lets the turn breathe. Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt.
Track context
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
Listen for how the lead line, horns or keys, and the rhythm section keep trading weight instead of sitting in fixed roles.
Open saved booth copy
We're still holding that dusky lane, but let's shift the color just a little. The request line is already asking for more Miles, so we'll honor that with a deeper cut from the quintet. This one's got that classic interplay between the horns and the rhythm section that keeps the room feeling intimate, not overstuffed. It's not a showy record, but it's got the kind of quiet lift that makes the next turn feel inevitable.
Jazz slow burn / sunlit pushLive booth noteMay 27, 20266:48 PM
Epistrophy (theme is the thesis, and One Note Samba is the answer waiting on deck.
Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt. It leaves One Note Samba by The Charlie Byrd Trio off The Bossa Nova Years (1991) a clean lane instead of boxing the handoff in. One Note Samba is already changing how the current record reads.
Record in focus
Epistrophy (theme
Thelonious Monk
The Complete Thelonious Monk At The It Club · 1964 · Jazz
Lineup note
Epistrophy (theme into One Note Samba
Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt. It leaves One Note Samba by The Charlie Byrd Trio off The Bossa Nova Years (1991) a clean lane instead of boxing the handoff in.
Track context
The Complete Thelonious Monk At The It Club · 1964
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
What to catch in the arrangement
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 One Note Samba by The Charlie Byrd Trio off The Bossa Nova Years (1991) instead of crowding the next move.
Thelonious MonkThe Charlie Byrd TrioJohn ColtraneJazzAlternative Rockjazz slow burn / sunlit pushmiddaysunlit pushJazz
Session map
3 stored song notes
01now
Epistrophy (theme
Thelonious Monk
Why it fits
Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt. It leaves One Note Samba by The Charlie Byrd Trio off The Bossa Nova Years (1991) a clean lane instead of boxing the handoff in.
Track context
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
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 One Note Samba by The Charlie Byrd Trio off The Bossa Nova Years (1991) instead of crowding the next move.
02next
One Note Samba
The Charlie Byrd Trio
Why it fits
One Note Samba by The Charlie Byrd Trio off The Bossa Nova Years (1991) lifts the pressure after Epistrophy (theme 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. It leaves Don't Take Your Love From Me by John Coltrane off Coltrane '58: The Prestige Recordings (2019) a clean lane instead of boxing the handoff in.
Track context
Hearing it against The Bossa Nova Years matters because it reads like part of an album world, not a detached single. One Note Samba by The Charlie Byrd Trio off The Bossa Nova Years (1991) works when the set needs collective motion and color instead of blunt force. The Charlie Byrd Trio 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
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 Don't Take Your Love From Me by John Coltrane off Coltrane '58: The Prestige Recordings (2019) instead of crowding the next move.
03later
Don't Take Your Love From Me
John Coltrane
Why it fits
Don't Take Your Love From Me by John Coltrane off Coltrane '58: The Prestige Recordings (2019) stays related to One Note Samba by The Charlie Byrd Trio off The Bossa Nova Years (1991) 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.
Track context
Hearing it against Coltrane '58: The Prestige Recordings matters because it reads like part of an album world, not a detached single. Don't Take Your Love From Me by John Coltrane off Coltrane '58: The Prestige Recordings (2019) works when the set needs collective motion and color instead of blunt force. John Coltrane 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
Listen for how the lead line, horns or keys, and the rhythm section keep trading weight instead of sitting in fixed roles.
Open saved booth copy
You know, that’s the thing about Thelonious Monk — he doesn’t just play a tune, he rearranges the room. And now? We’re still in that space, still feeling the weight shift between the piano and the silence. So let’s not rush the next breath. This one? It’s not just a song — it’s a conversation. Miles Davis, 1951, in the studio, and 'Well You Needn't' — the way the rhythm walks *under* the melody, like it’s been waiting for the right moment to speak. You feel that? That’s the spine of the set. That’s Ian’s hand on the wheel.
Dusky slow burn / steady shineLive booth noteMay 27, 20262:32 PM
Epistrophy (theme is the thesis, and I Don't Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 1) is the answer waiting on deck.
Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt. It leaves I Don't Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 1) by Miles Davis & Gil Evans off The Complete Columbia Studio Recordings [Disc 6] (2004) a clean lane instead of boxing the handoff in. I Don't Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 1) is already changing how the current record reads.
Record in focus
Epistrophy (theme
Thelonious Monk
The Complete Thelonious Monk At The It Club · 1964 · Jazz
Lineup note
Epistrophy (theme into I Don't Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 1)
Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt. It leaves I Don't Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 1) by Miles Davis & Gil Evans off The Complete Columbia Studio Recordings [Disc 6] (2004) a clean lane instead of boxing the handoff in.
Track context
The Complete Thelonious Monk At The It Club · 1964
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
What to catch in the arrangement
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 I Don't Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 1) by Miles Davis & Gil Evans off The Complete Columbia Studio Recordings [Disc 6] (2004) instead of crowding the next move.
Thelonious MonkMiles Davis & Gil EvansThe KinksJazzRockdusky slow burn / steady shinelate morningsteady shineJazz
Session map
3 stored song notes
01now
Epistrophy (theme
Thelonious Monk
Why it fits
Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt. It leaves I Don't Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 1) by Miles Davis & Gil Evans off The Complete Columbia Studio Recordings [Disc 6] (2004) a clean lane instead of boxing the handoff in.
Track context
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
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 I Don't Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 1) by Miles Davis & Gil Evans off The Complete Columbia Studio Recordings [Disc 6] (2004) instead of crowding the next move.
02next
I Don't Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 1)
Miles Davis & Gil Evans
Why it fits
I Don't Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 1) by Miles Davis & Gil Evans off The Complete Columbia Studio Recordings [Disc 6] (2004) lifts the pressure after Epistrophy (theme 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. It leaves Better Things by The Kinks off The Ultimate Collection (1) (2002) a clean lane instead of boxing the handoff in.
Track context
Hearing it against The Complete Columbia Studio Recordings [Disc 6] matters because it reads like part of an album world, not a detached single. I Don't Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 1) by Miles Davis & Gil Evans off The Complete Columbia Studio Recordings [Disc 6] (2004) 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
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 Better Things by The Kinks off The Ultimate Collection (1) (2002) instead of crowding the next move.
03later
Why it fits
Better Things by The Kinks off The Ultimate Collection (1) (2002) cools the temperature after I Don't Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 1) by Miles Davis & Gil Evans off The Complete Columbia Studio Recordings [Disc 6] (2004) 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.
Track context
Hearing it against The Ultimate Collection (1) matters because it reads like part of an album world, not a detached single. Better Things by The Kinks off The Ultimate Collection (1) (2002) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With The Kinks, 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
Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead.
Open saved booth copy
This one’s a hinge—Miles, in the 2020s, turning the key on that old conversation. The rhythm’s still under the surface, the horns still trading weight. It’s not a lift, not yet. Just a deeper breath.
Dusky slow burn / open window liftLive booth noteMay 27, 202612:45 PM
Epistrophy (theme is the thesis, and Thank You Girl is the answer waiting on deck.
Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt. It leaves Thank You Girl by The Beatles off Past Masters (1988) a clean lane instead of boxing the handoff in. Thank You Girl is already changing how the current record reads.
Record in focus
Epistrophy (theme
Thelonious Monk
The Complete Thelonious Monk At The It Club · 1964 · Jazz
Lineup note
Epistrophy (theme into Thank You Girl
Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt. It leaves Thank You Girl by The Beatles off Past Masters (1988) a clean lane instead of boxing the handoff in.
Track context
The Complete Thelonious Monk At The It Club · 1964
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
What to catch in the arrangement
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 Thank You Girl by The Beatles off Past Masters (1988) instead of crowding the next move.
Thelonious MonkThe BeatlesMichael JacksonJazzRockPopdusky slow burn / open-window liftdaybreakopen-window liftJazz
Session map
3 stored song notes
01now
Epistrophy (theme
Thelonious Monk
Why it fits
Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt. It leaves Thank You Girl by The Beatles off Past Masters (1988) a clean lane instead of boxing the handoff in.
Track context
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
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 Thank You Girl by The Beatles off Past Masters (1988) instead of crowding the next move.
02next
Thank You Girl
The Beatles
Why it fits
Thank You Girl by The Beatles off Past Masters (1988) stays related to Epistrophy (theme by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) 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 Heal The World by Michael Jackson off The Essential (Limited Edition 3.0) (2) (2008) a clean lane instead of boxing the handoff in.
Track context
Hearing it against Past Masters matters because it reads like part of an album world, not a detached single. Thank You Girl by The Beatles off Past Masters (1988) 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
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 Heal The World by Michael Jackson off The Essential (Limited Edition 3.0) (2) (2008) instead of crowding the next move.
03later
Heal The World
Michael Jackson
Why it fits
Heal The World by Michael Jackson off The Essential (Limited Edition 3.0) (2) (2008) stays related to Thank You Girl by The Beatles off Past Masters (1988) through pop, 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.
Track context
Hearing it against The Essential (Limited Edition 3.0) (2) matters because it reads like part of an album world, not a detached single. Heal The World by Michael Jackson off The Essential (Limited Edition 3.0) (2) (2008) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With Michael Jackson, 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
Listen for where the arrangement opens wider than the first impression suggests, especially when the rhythm section changes the floor under the lead.
Open saved booth copy
Right here, on this edge of morning — that’s where we stay. After the shifting weight of Miles and Gil Evans, and the quiet gravity of Thelonious Monk’s Epistrophy, we pull in R.E.M.’s ‘Low’ — not just for the warm low end the request line asked for, but for how it opens up like a window in the fog. It’s 1991, but it feels like now. The way Peter Buck’s guitar slides in like breath on glass — that’s the exact kind of lift we need. Not a push, not a break, just a slow, sure shift in the air.
Dusky slow burn / open window liftLive booth noteMay 27, 202611:21 AM
Don't Keep Me Wonderin' (Live At The Fillmore East, 1971 is the thesis, and Epistrophy (theme - Sunday set one) is the answer waiting on deck.
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 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. Epistrophy (theme - Sunday set one) is already changing how the current record reads.
Record in focus
Don't Keep Me Wonderin' (Live At The Fillmore East, 1971
The Allman Brothers Band
The 1971 Fillmore East Recordings · 2014 · Blues Rock
Lineup note
Don't Keep Me Wonderin' (Live At The Fillmore East, 1971 into Epistrophy (theme - Sunday set one)
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 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.
Track context
The 1971 Fillmore East Recordings · 2014
Hearing it against The 1971 Fillmore East Recordings matters because it reads like part of an album world, not a detached single. Don't Keep Me Wonderin' (Live At The Fillmore East, 1971 by The Allman Brothers Band off The 1971 Fillmore East Recordings (2014) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With The Allman Brothers Band, 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
What to catch in the arrangement
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 Epistrophy (theme - Sunday set one) by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) instead of crowding the next move.
The Allman Brothers BandThelonious MonkMiles Davis & Gil EvansBlues RockJazzRockdusky slow burn / open-window liftdaybreakopen-window liftBlues Rock
Session map
3 stored song notes
01now
Don't Keep Me Wonderin' (Live At The Fillmore East, 1971
The Allman Brothers Band
Why it fits
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 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.
Track context
Hearing it against The 1971 Fillmore East Recordings matters because it reads like part of an album world, not a detached single. Don't Keep Me Wonderin' (Live At The Fillmore East, 1971 by The Allman Brothers Band off The 1971 Fillmore East Recordings (2014) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With The Allman Brothers Band, 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
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 Epistrophy (theme - Sunday set one) by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) instead of crowding the next move.
02next
Epistrophy (theme - Sunday set one)
Thelonious Monk
Why it fits
Epistrophy (theme - Sunday set one) by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) cools the temperature after Don't Keep Me Wonderin' (Live At The Fillmore East, 1971 by The Allman Brothers Band off The 1971 Fillmore East Recordings (2014) 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 I Don't Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 1) by Miles Davis & Gil Evans off The Complete Columbia Studio Recordings [Disc 6] (2004) a clean lane instead of boxing the handoff in.
Track context
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
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 I Don't Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 1) by Miles Davis & Gil Evans off The Complete Columbia Studio Recordings [Disc 6] (2004) instead of crowding the next move.
03later
I Don't Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 1)
Miles Davis & Gil Evans
Why it fits
I Don't Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 1) by Miles Davis & Gil Evans off The Complete Columbia Studio Recordings [Disc 6] (2004) 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 set needs lift, conversation between parts, and something that can move without turning blunt.
Track context
Hearing it against The Complete Columbia Studio Recordings [Disc 6] matters because it reads like part of an album world, not a detached single. I Don't Wanna Be Kissed (By Anyone But You) (Overdubbed Solo 1) by Miles Davis & Gil Evans off The Complete Columbia Studio Recordings [Disc 6] (2004) 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
Listen for how the lead line, horns or keys, and the rhythm section keep trading weight instead of sitting in fixed roles.
Open saved booth copy
Right after that Allman Brothers Band set, we're gonna reach for something that keeps the spell, but with a different kind of low end. Miles Davis, man.
Dusky slow burn / soft ignitionLive booth noteMay 27, 20269:57 AM
Hit Single is the thesis, and No Reply is the answer waiting on deck.
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 No Reply by The Beatles off Beatles for Sale (1964) a clean lane instead of boxing the handoff in. No Reply is already changing how the current record reads.
Record in focus
Hit Single
Heart
Greatest Hits / Live · 1980 · Rock
Lineup note
Hit Single into No Reply
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 No Reply by The Beatles off Beatles for Sale (1964) a clean lane instead of boxing the handoff in.
Track context
Greatest Hits / Live · 1980
Hearing it against Greatest Hits / Live matters because it reads like part of an album world, not a detached single. Hit Single by Heart off Greatest Hits / Live (1980) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With Heart, 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
What to catch in the arrangement
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 No Reply by The Beatles off Beatles for Sale (1964) instead of crowding the next move.
HeartThe BeatlesThelonious MonkRockJazzdusky slow burn / soft ignitionblue hoursoft ignitionRock
Session map
3 stored song notes
01now
Why it fits
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 No Reply by The Beatles off Beatles for Sale (1964) a clean lane instead of boxing the handoff in.
Track context
Hearing it against Greatest Hits / Live matters because it reads like part of an album world, not a detached single. Hit Single by Heart off Greatest Hits / Live (1980) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With Heart, 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
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 No Reply by The Beatles off Beatles for Sale (1964) instead of crowding the next move.
02next
Why it fits
No Reply by The Beatles off Beatles for Sale (1964) stays related to Hit Single by Heart off Greatest Hits / Live (1980) 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 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.
Track context
Hearing it against Beatles for Sale matters because it reads like part of an album world, not a detached single. No Reply by The Beatles off Beatles for Sale (1964) 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
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 Epistrophy (theme - Sunday set one) by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) instead of crowding the next move.
03later
Epistrophy (theme - Sunday set one)
Thelonious Monk
Why it fits
Epistrophy (theme - Sunday set one) by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) cools the temperature after No Reply by The Beatles off Beatles for Sale (1964) and lets the turn breathe. Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt.
Track context
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
Listen for how the lead line, horns or keys, and the rhythm section keep trading weight instead of sitting in fixed roles.
Open saved booth copy
We're building on that warm low end you asked for, and keeping the Miles Davis energy flowing.
Dusky slow burn / tender voltageLive booth noteMay 27, 20268:32 AM
Don't Keep Me Wonderin' (Live At The Fillmore East, 1971 is the thesis, and Takin' It To The Streets is the answer waiting on deck.
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 Takin' It To The Streets by Doobie Brothers off Sounds Of The Seventies - 1976 (1989) a clean lane instead of boxing the handoff in. Takin' It To The Streets is already changing how the current record reads.
Record in focus
Don't Keep Me Wonderin' (Live At The Fillmore East, 1971
The Allman Brothers Band
The 1971 Fillmore East Recordings · 2014 · Blues Rock
Lineup note
Don't Keep Me Wonderin' (Live At The Fillmore East, 1971 into Takin' It To The Streets
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 Takin' It To The Streets by Doobie Brothers off Sounds Of The Seventies - 1976 (1989) a clean lane instead of boxing the handoff in.
Track context
The 1971 Fillmore East Recordings · 2014
Hearing it against The 1971 Fillmore East Recordings matters because it reads like part of an album world, not a detached single. Don't Keep Me Wonderin' (Live At The Fillmore East, 1971 by The Allman Brothers Band off The 1971 Fillmore East Recordings (2014) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With The Allman Brothers Band, 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
What to catch in the arrangement
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 Takin' It To The Streets by Doobie Brothers off Sounds Of The Seventies - 1976 (1989) instead of crowding the next move.
The Allman Brothers BandDoobie BrothersThelonious MonkBlues RockRockJazzdusky slow burn / tender voltageblue hourtender voltageBlues Rock
Session map
3 stored song notes
01now
Don't Keep Me Wonderin' (Live At The Fillmore East, 1971
The Allman Brothers Band
Why it fits
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 Takin' It To The Streets by Doobie Brothers off Sounds Of The Seventies - 1976 (1989) a clean lane instead of boxing the handoff in.
Track context
Hearing it against The 1971 Fillmore East Recordings matters because it reads like part of an album world, not a detached single. Don't Keep Me Wonderin' (Live At The Fillmore East, 1971 by The Allman Brothers Band off The 1971 Fillmore East Recordings (2014) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With The Allman Brothers Band, 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
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 Takin' It To The Streets by Doobie Brothers off Sounds Of The Seventies - 1976 (1989) instead of crowding the next move.
02next
Takin' It To The Streets
Doobie Brothers
Why it fits
Takin' It To The Streets by Doobie Brothers off Sounds Of The Seventies - 1976 (1989) cools the temperature after Don't Keep Me Wonderin' (Live At The Fillmore East, 1971 by The Allman Brothers Band off The 1971 Fillmore East Recordings (2014) 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 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.
Track context
Hearing it against Sounds Of The Seventies - 1976 matters because it reads like part of an album world, not a detached single. Takin' It To The Streets by Doobie Brothers off Sounds Of The Seventies - 1976 (1989) carries the feel of a band in a room rather than a mood-board tag, and that physicality matters in a sequence. With Doobie Brothers, 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
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 Epistrophy (theme - Sunday set one) by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) instead of crowding the next move.
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Epistrophy (theme - Sunday set one)
Thelonious Monk
Why it fits
Epistrophy (theme - Sunday set one) by Thelonious Monk off The Complete Thelonious Monk At The It Club (1964) cools the temperature after Takin' It To The Streets by Doobie Brothers off Sounds Of The Seventies - 1976 (1989) and lets the turn breathe. Reach for it when the set needs lift, conversation between parts, and something that can move without turning blunt.
Track context
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
Listen for how the lead line, horns or keys, and the rhythm section keep trading weight instead of sitting in fixed roles.
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Miles Davis. Not just a name, a moment. The way the bass walks in—quiet, certain—like the night finally finding its footing. This is where the pulse learns to breathe.