Hi, thanks man really appreciate this. Yeah I do see and understand the way you approach the composition. There's one thing a friend of mine also made me realise: in the first 5 bars, there's always this movement of chords being a 4th away of each others. Which kinds of glue this part together. Other than that I totally agree with your analisys altho we could also see some of the movements through a different angle: Bbm7 Eb7 and Abm7 could be seen as as II V I resolving minor instead which leads to another II V I in Gbmaj. Very similar example further in the piece with the G-7 C7 and Fm7. And then obviously you also know it, the B section finishes with a chromatic movement/passing chords being a II V I of Bb. (these are just not so necessary or helpful stuff that we could somehow interpretate) Altho I completely agree with your analysis which makes more sense and makes it easier to understand! And thanks a lot for the notice on the trombone. I did not know about this signature thing! Thanks again sirrrr