Bright E-major street-jazz built on a repeating sax riff over walking upright bass, brushed drums and handclaps, at a brisk 122bpm. Cheerful and unbroken from top to tail, with no clarinet or brass to crowd the mid range, so it sits easily under narration. Suits city-sidewalk footage, subway buskers and upbeat retail advertising.
The most relaxed swing on the set at 105bpm, with clarinet added to the sax for a warmer, older-New-York colour over upright bass, drums and claps in D flat. Happy and easygoing rather than driving, holding one cheerful groove for its full two and a half minutes. Good for period-flavoured city scenes, deli and neighbourhood documentary, or friendly brand voiceover.
Minor-key swing in D minor at 123bpm, where the sax riff, prowling upright bass and clapped backbeat take on a sly, investigative tilt rather than pure sunshine. Cool and inquisitive, useful when a scene needs cheek and suspicion at the same time. Fits light crime and detective content, caper reveals and comic sleuthing.
The fullest-band cue here at a strolling 110bpm in B flat, pairing sax and trombone with comping piano, upright bass, drums and claps. Playful and a little cheeky, closer to a small combo on a pedestrian promenade than a hard swinger. Works for family comedy, market and boardwalk footage and light-hearted product spots.
Fast 140bpm swing in B flat minor led by clarinet with trombone and piano over sprinting upright bass, drums and claps. The minor key plus the pace gives it a scurrying, investigative comedy urgency — chase-adjacent but still grinning. Cue it for pursuits, frantic errands and mischief montages.
Sax and trombone trade the title's riffs back and forth at 125bpm in bright B flat, propelled by upright bass, drums and claps. Happy and confidently swinging, and the longest of the mid-tempo cuts at 2:50 so it covers a full sequence without looping. Suits city-cool advertising, sports highlight cutdowns and busy montage work.
At three minutes the longest cue on the album: a 123bpm B flat swing with sax and trombone over upright bass, drums and handclaps, carrying an investigative edge under the feel-good surface. Its length makes it the safest bet when a scene needs continuous jazz without an edit. Good for subway and commuter footage, urban documentary and light-crime narration.
A clarinet-fronted swinger at 110bpm in F minor, stripped to clarinet, upright bass, drums and claps — the leanest instrumentation here. The minor key keeps it cool and smoky while the tempo stays relaxed and happy, and at 2:28 it is the shortest cut on the record. Ideal for old-school city vignettes, speakeasy scenes and short-form spots.
D flat minor swing at 125bpm with sax lead and comping piano over upright bass, drums and claps, giving the busy street feel a shadier, more watchful character. Energetic and cool, tipping toward investigation rather than plain cheer. Use for crime-adjacent city footage, night-time establishing shots and sly comedy setups.
The brightest fast cut here: 140bpm in straight C major with sax riffing over sprinting upright bass, drums and claps. Relentlessly cheerful and busy, with no minor shading, so it reads as pure feel-good hustle. Strong for busker and street-performer footage, energetic ad cutdowns and rapid-fire montage.
Clarinet and trombone share the front line over upright bass, drums and claps at a mid 115bpm in E flat, warm-toned but with an inquisitive undercurrent. The horn-and-reed pairing gives it a slightly grittier, older street-band character than the sax-led cues. Suits market haggling scenes, period city documentary and wry narration.
Sax and trombone swing together at a steady 116bpm in B flat over upright bass, drums and handclaps — happy, mid-paced and workmanlike, matching the title's sweep of the street. Straightforward feel-good energy with no minor-key shading, easy to loop or trim. Fits time-lapse city work, community and clean-up features and cheerful brand spots.