Bright horns straight from the first bar, and the rhythm section is already at full sprint underneath — congas rolling, bass walking fast.

A high falsetto settles in over the top — barely any weight to it, riding easily above all that motion.

Short horn jabs start landing behind the voice, and the two begin trading the front of the mix.

The voice drops away and the horns take the front line themselves — bright, syncopated, riding the same rolling groove.

The falsetto slips back in and the horns fall back behind it — suddenly more air in the mix, just the voice over the rolling floor.

The horns ease off again, and bass, congas, and kit keep the same quick walk they've held since the opening.

Now the voice climbs into its upper register as the stabs strike back in — more edge, more forward pressure.

Voice gone again, and this time the whole melody belongs to the horns — one long brass line soaring over a groove that hasn't blinked.

The falsetto comes back one more time, horns settling in behind it with hits square on the downbeats — and from here each phrase pushes a little higher.

The falsetto finishes at the top of its range and hands the tune to the brass — the fanfare carries it home.

The fade takes the band while it's still playing — horns and congas thinning to a thread, and then just the room.