“Mardi Gras In New Orleans” (PDF) from the New Birth Brass Band album, D-Boy.

The origin of New Orleans funk begins with Professor Longhair. His effortless blend of Cuban syncopation with the rhythm and blues swing created the unique “rhumba-boogie” sound of New Orleans second lines, where a good parade tune is easily identifiable in its bassline. ‘Fess recorded many versions of “Mardi Gras in New Orleans” under different titles and names, perhaps the reason for its wide popularity, and one could even argue that it’s the same business model for all the Spotify versions of today’s popular songs.

What I appreciate the most about this trombone solo is that it only needs a single blues chorus to say everything. Break it down into two-bar phrases: a statement, a response, a variation of the statement, a tension-creating rhythmic figure to set up the third phrase, a statement with attitude, and a syncopated rhythmic figure to land back on “the one.” Formulaic, perhaps, but effective trombone work nonetheless by either Corey Henry or Reginald Steward.

Recommended reading: Roll With It: Brass Bands in the Streets of New Orleans by Matt Sakakeeny. Published by Duke University Press.