Ed Neumeister’s solo on “Locomotion”

transcription and original analysis by Reinhard Summerer
additional analysis by Jack Courtright

(Reinhard Summerer's transcription is provided here with his permission, and you can hear Neumeister's solo online.)

A Section - Rhythmic motives and introduction of staccato 8th notes

Neumeister’s solo is the second of the track, beginning after a four-measure cool-down following Dick Oatts’ tenor solo. For the two measures preceding the trombone solo, drummer John Riley plays a repeated, three-eighth-note figure (thrice on the snare drum and then continuing it on the toms) that Neumeister latches onto immediately at the top of the solo form, beginning with three staccato eighth notes followed by short descending notes on beats three and four. He outlines an E major triad in this measure, invoking a Lydian (Dma7#11) sound by using this upper-structure triad. In m. 3 he adds one note to the beginning of the rhythmic idea and flips the direction of beats 3 and 4, playing two ascending notes. Then, m. 5 sees a return to the version of this motive starting with just three notes, this time filling in between beats 3 and 4. The descending fifth from F# to B in this measure (reminiscent of this interval in the second phrase of the tune) is echoed in m. 6 down a step (E to A), which gives way to a stepwise ascending line that brings us to the second chord of the solo section (E minor), as well as to Neumeister’s second rhythmic motive.

In m. 9 we hear Neumeister play a dotted quarter, eighth note, eighth rest, eighth note, and a tied note on beat 4 (essentially a 3/8 cross-rhythm with one inserted eighth-note pickup). The first two notes of this are reminiscent of the start of the tune’s melody, and the 3/8 framework calls to mind the initial two notes of the second phrase of the tune. Starting in m. 11 he continues this cross-rhythm all the way to the downbeat of m. 13 using a mostly stepwise line diatonic to D major. At this point we see the return of his descending-fifth idea from mm. 5-6 (F#-B-E-A), but this time confined to just two and a half beats. Throughout the eight measures of E minor, Ed restricts his melodic material to a more decidedly “D major” sound—indeed, he doesn’t play a single G throughout the eight bars of E minor—sonically linking this section to the first eight measures of the solo.

With the return of D major in the next section comes the return of the repeated staccato eighth notes from Neumeister’s first motive (borrowed from John Riley). First, the short, repeated notes are used to vary the D-C#-A-B figure from m. 17; then they make up almost the entirety of an eighth-note run up the D Lydian scale in mm. 21-22, finally sneaking their way into the E-D-E-G# figure in m. 24 that calls back the E major triad upper-structure from the very first bar.

B Section - Using the slide, upper register, and overtone series

In this second section of the form we hear Neumeister use the instrument in new ways. In m. 29 he employs the slide, scooping from C# to D and back repeatedly, creating an entire measure of eighth notes without any clear articulations, answering the long phrase with a brief half-step gliss on the downbeat of m. 31. Then, mm. 33-36 see another staccato eighth-note line starting in the staff (similar to m. 21), reaching up into the stratosphere of the instrument (high F#) and coming back down to rest within the staff where it began. In mm. 37-38 Ed answers the wide-ranging run with a series of quick natural slur-turns à la Frank Rosolino, followed by another half-step glissing figure, this time in a higher tessitura. The two phrases in mm. 41-44 offer a rhyming question/answer structure, once again using the notes of Dma7 over an E minor chord.

Starting from m. 25, the horns play a long-note counter-line behind the trombone solo; and it becomes more active and syncopated at m. 45. To complement this increase in activity, Neumeister once again turns to the overtone series of the instrument, this time playing rapid lip-trills while moving the slide forward and back throughout mm. 45-48. The background figures culminate in loud horn-section interjections at m. 53 and m. 55, which Neumeister responds to with a series of quick stabs/falls starting on C [the #9 of A7(#9)], then a swung-eighth figure leading up to high E on the downbeat of m. 57 to welcome in the return to Dma7. A repeated doodle-tongue triplet-figure throughout mm. 61-62 helps to keep up the musical momentum. It would be easy to let mm. 57-64 feel like the winding-down of the solo section after the comparative tension of mm. 45-56, but Neumeister deftly increases his rhythmic activity in order to keep the band moving forward.

C Section (second A section) - Taking upper register and overtone series to the extreme

Throughout this section, as the horns supply background figures and pads, Neumeister is sure to stay above them in tessitura. In m. 69 we hear several previously used ideas combined into one: the natural-slur gymnastics from mm. 37-38 now return in the extreme high register, taking the form of another 3/8 cross-rhythm as five descending figures enter on the upbeat of beat one, downbeat of three, upbeat of four, etc. As composer, Ed has already exploited the 3/8 rhythm as backgrounds during the solos and the recap of the tune; he now employs that perspective as soloist.

Similar to how the frenetic trills from mm. 45-48 were answered by a logical, rhythmically rhyming pair of musical phrases, so too is the material from mm. 69-72. Interestingly, the rhyming phrases in mm. 73-76 begin swung (calling back the idea from m. 56), as if to emphasize their relaxedness as a break from the dizzying material that preceded them.

To confirm his intention to answer virtuosic craziness (tension) with cool relaxedness (release), in mm. 79-87 Neumeister once again plays a series of high-range lip-slurs ultimately leading to a final swung-pentatonic statement that perfectly sets up the band for its interjection in m. 88. By reusing and combining the rhythmic cells, extreme range, trombonistic natural slurs, and repeated staccato eighth notes from earlier in the solo, Ed creates a sense of continuity as the band ramps up, building into the final section of the solo.

D Section - Dialogue with the band and using a simple motive to wind down

Neumeister begins this section echoing the high D from the brass interjection, cleverly turning it into another natural-slurred motive oscillating between D and F#. While these are simply the root and third in the home key of D major, they sound fresh when used over the Gmaj7 chord that begins this section. This figure gives way to another 3/8 cross-rhythm in mm. 93-94, beginning from double high A(!) and descending down into the bass clef. That cross-rhythm is echoed a few measures later in mm. 102-104 as Neumeister applies it to a series of falls responding to the climactic band-stab in m. 101.

Choosing to wind down the solo with a simple motive, he plays an ascending three-note figure F#-G-A in m. 105, then expands upon it to come up with a decorated version of A-B-C# in mm. 107-108, echoing himself more directly with D-E-F# in m. 109 (the placement of first and last pitch paralleling the melody’s opening rhythm). A bar of high A quarter notes and one final lip-slur 3/8 cross-rhythm in mm. 111-112 lead us to the form’s only Bbmaj7 chord, which Neumeister outlines with mostly diatonic scalar material over the course of four measures that ultimately lead to the return of his F#-G-A motive at m. 117, which becomes B-C#-D the next bar and E-F#-A the following bar. Finally he lands on the downbeat of m. 121 with the dotted-quarter, tied-eighth-note motive from the main melody of the tune—and reminiscent of his solo in m. 9.

Read Antonio García's interview with Ed Neumeister here.

Reinhard Summerer teaches at the University of Music and Performing Arts in Graz, Austria. He directs the Jazz Orchestra, Composers Ensemble, Brass Chamber Music, and teaches trombone as an assistant to former Prof. Ed Neumeister and current Prof. Luis Bonilla. A freelance trombonist, arranger, and composer, he has received commissions for symphonic, jazz, chamber, and many other projects, writing over 1800 works found on over 110 recordings. He has collaborated with Patti Austin, Jon Hendricks, New York Voices, Take 6, Bob Mintzer, Ed Neumeister, Michael Abene, Bob Brookmeyer, John Hollenbeck, Theo Bleckmann, and Kurt Elling. Summerer is a trombonist in Styrian Brass, Berndt Luef's Jazztet Forum Graz, Jazz Big Band Graz, Jazzorchester Steiermark, and leads his own R.S. BigBand. Visit <www.rsummerer.com>; e-mail him at <r.su@gmx.net>.

Jack Courtright holds a B.M. from the Eastman School of Music, where he studied with Mark Kellogg and Larry Zalkind, as well as an M.M. from the University of North Texas, where he studied with Nick Finzer. At UNT Jack worked as a Teaching Fellow, directing several large ensembles while serving as the Jazz Chair trombonist in the One O’Clock Lab Band. Since 2016 Jack has won four international jazz trombone competitions at the ITF, ATW and UNT/Conn-Selmer JTBN Day. Under Jack's direction, UNT's jazz trombone ensemble, The U-Tubes, were named winners of the ITA's 2021 Kai Winding Jazz Trombone Ensemble Competition. Also an in-demand composer and arranger, Jack’s works for big band and trombone ensemble have been performed by professional, collegiate, and high school groups across the U.S. Visit <www.jackcourtrightmusic.com>; e-mail him at <jackson.courtright@gmail.com>.

Antonio J. García is a Professor Emeritus and former Director of Jazz Studies at Virginia Commonwealth University, where he directed the Jazz Orchestra I; instructed Applied Jazz Trombone, Small Jazz Ensemble, Jazz Pedagogy, Music Industry, and various jazz courses; founded a B.A. Music Business Emphasis (for which he initially served as Coordinator); and directed the Greater Richmond High School Jazz Band. An alumnus of the Eastman School of Music and of Loyola University of the South, he has received commissions for jazz, symphonic, chamber, film, and solo works—instrumental and vocal—including grants from Meet The Composer, The Commission Project, The Thelonious Monk Institute, and regional arts councils. His music has aired internationally and has been performed by such artists as Sheila Jordan, Arturo Sandoval, Jim Pugh, Denis DiBlasio, James Moody, and Nick Brignola. Composition/arrangement honors include IAJE (jazz band), ASCAP (orchestral), and Billboard Magazine (pop songwriting). His works have been published by Kjos Music, Hal Leonard, Kendor Music, Doug Beach Music, ejazzlines, Walrus, UNC Jazz Press, Three-Two Music Publications, Potenza Music, and his own garciamusic.com, with five recorded on CDs by Rob Parton’s JazzTech Big Band (Sea Breeze and ROPA JAZZ). His scores for independent films have screened across the U.S. and in Italy, Macedonia, Uganda, Australia, Colombia, India, Germany, Brazil, Hong Kong, Mexico, Israel, Taiwan, and the United Kingdom. His latest commission will be performed at Carnegie Hall by the Orpheus Chamber Orchestra.

A Conn-Selmer trombone clinician, Mr. García serves as the jazz clinician for The Conn-Selmer Institute. He has freelanced as trombonist, bass trombonist, or pianist with over 70 nationally renowned artists, including Ella Fitzgerald, George Shearing, Mel Tormé, Doc Severinsen, Louie Bellson, Dave Brubeck, and Phil Collins—and has performed at the Montreux, Nice, North Sea, Pori (Finland), New Orleans, and Chicago Jazz Festivals. He has produced recordings or broadcasts of such artists as Wynton Marsalis, Jim Pugh, Dave Taylor, Susannah McCorkle, Sir Roland Hanna, and the JazzTech Big Band and is the bass trombonist on Phil Collins’ CD “A Hot Night in Paris” (Atlantic) and DVD “Phil Collins: Finally...The First Farewell Tour” (Warner Music). An avid scat-singer, he has performed vocally with jazz bands, jazz choirs, and computer-generated sounds. He is also a member of the National Academy of Recording Arts & Sciences (NARAS). A New Orleans native, he also performed there with such local artists as Pete Fountain, Ronnie Kole, Irma Thomas, and Al Hirt.

Most of all, Tony is dedicated to assisting musicians towards finding their joy. His 35-year full-time teaching career and countless residencies in schools have touched tens of thousands of students in Canada, Europe, South Africa, Australia, The Middle East, and across the U.S. His collaborations highlighting jazz and social justice have raised hundreds of thousands of dollars, providing education to students and financial support to African American, Latinx, LGBTQ+, and Veterans communities, children’s medical aid, and women in jazz. He serves as a Research Faculty Member at the University of KwaZulu-Natal. His partnerships with South Africa focusing on racism and healing resulted in his performing at the Nelson Mandela National Memorial Service in D.C. in 2013. He also fundraised $5.5 million in external gift pledges for the VCU Jazz Program.

Mr. García is the Past Associate Jazz Editor of the International Trombone Association Journal. He has served as a Network Expert (for Improvisation Materials), President’s Advisory Council member, and Editorial Advisory Board member for the Jazz Education Network . His newest book, Jazz Improvisation: Practical Approaches to Grading (Meredith Music), explores avenues for creating structures that correspond to course objectives. His book Cutting the Changes: Jazz Improvisation via Key Centers (Kjos Music) offers musicians of all ages the opportunity to improvise over standard tunes using just their major scales. He is Co-Editor and Contributing Author of Teaching Jazz: A Course of Study (published by NAfME), authored a chapter within Rehearsing The Jazz Band and The Jazzer’s Cookbook (published by Meredith Music), and contributed to Peter Erskine and Dave Black’s The Musician's Lifeline (Alfred). Within the International Association for Jazz Education he served as Editor of the Jazz Education Journal, President of IAJE-IL, International Co-Chair for Curriculum and for Vocal/Instrumental Integration, and Chicago Host Coordinator for the 1997 Conference. He served on the Illinois Coalition for Music Education coordinating committee, worked with the Illinois and Chicago Public Schools to develop standards for multi-cultural music education, and received a curricular grant from the Council for Basic Education. He has also served as Director of IMEA’s All-State Jazz Choir and Combo and of similar ensembles outside of Illinois. He is the only individual to have directed all three genres of Illinois All-State jazz ensembles—combo, vocal jazz choir, and big band—and is the recipient of the Illinois Music Educators Association’s 2001 Distinguished Service Award.

Regarding Jazz Improvisation: Practical Approaches to Grading, Darius Brubeck says, "How one grades turns out to be a contentious philosophical problem with a surprisingly wide spectrum of responses. García has produced a lucidly written, probing, analytical, and ultimately practical resource for professional jazz educators, replete with valuable ideas, advice, and copious references." Jamey Aebersold offers, "This book should be mandatory reading for all graduating music ed students." Janis Stockhouse states, "Groundbreaking. The comprehensive amount of material García has gathered from leaders in jazz education is impressive in itself. Plus, the veteran educator then presents his own synthesis of the material into a method of teaching and evaluating jazz improvisation that is fresh, practical, and inspiring!" And Dr. Ron McCurdy suggests, "This method will aid in the quality of teaching and learning of jazz improvisation worldwide."

About Cutting the Changes, saxophonist David Liebman states, “This book is perfect for the beginning to intermediate improviser who may be daunted by the multitude of chord changes found in most standard material. Here is a path through the technical chord-change jungle.” Says vocalist Sunny Wilkinson, “The concept is simple, the explanation detailed, the rewards immediate. It’s very singer-friendly.” Adds jazz-education legend Jamey Aebersold, “Tony’s wealth of jazz knowledge allows you to understand and apply his concepts without having to know a lot of theory and harmony. Cutting the Changes allows music educators to present jazz improvisation to many students who would normally be scared of trying.”

Of his jazz curricular work, Standard of Excellence states: “Antonio García has developed a series of Scope and Sequence of Instruction charts to provide a structure that will ensure academic integrity in jazz education.” Wynton Marsalis emphasizes: “Eight key categories meet the challenge of teaching what is historically an oral and aural tradition. All are important ingredients in the recipe.” The Chicago Tribune has highlighted García’s “splendid solos...virtuosity and musicianship...ingenious scoring...shrewd arrangements...exotic orchestral colors, witty riffs, and gloriously uninhibited splashes of dissonance...translucent textures and elegant voicing” and cited him as “a nationally noted jazz artist/educator...one of the most prominent young music educators in the country.” Down Beat has recognized his “knowing solo work on trombone” and “first-class writing of special interest.” The Jazz Report has written about the “talented trombonist,” and Cadence noted his “hauntingly lovely” composing as well as CD production “recommended without any qualifications whatsoever.” Phil Collins has said simply, “He can be in my band whenever he wants.” García is also the subject of an extensive interview within Bonanza: Insights and Wisdom from Professional Jazz Trombonists (Advance Music), profiled along with such artists as Bill Watrous, Mike Davis, Bill Reichenbach, Wayne Andre, John Fedchock, Conrad Herwig, Steve Turre, Jim Pugh, and Ed Neumeister.

Tony is the Secretary of the Board of The Midwest Clinic and a past Advisory Board member of the Brubeck Institute. The partnership he created between VCU Jazz and the Centre for Jazz and Popular Music at the University of KwaZulu-Natal merited the 2013 VCU Community Engagement Award for Research. He has served as adjudicator for the International Trombone Association’s Frank Rosolino, Carl Fontana, and Rath Jazz Trombone Scholarship competitions and the Kai Winding Jazz Trombone Ensemble competition and has been asked to serve on Arts Midwest’s “Midwest Jazz Masters” panel and the Virginia Commission for the Arts “Artist Fellowship in Music Composition” panel. He was published within the inaugural edition of Jazz Education in Research and Practice and has been repeatedly published in Down Beat; JAZZed; Jazz Improv; Music, Inc.; The International Musician; The Instrumentalist; and the journals of NAfME, IAJE, ITA, American Orff-Schulwerk Association, Percussive Arts Society, Arts Midwest, Illinois Music Educators Association, and Illinois Association of School Boards. Previous to VCU, he served as Associate Professor and Coordinator of Combos at Northwestern University, where he taught jazz and integrated arts, was Jazz Coordinator for the National High School Music Institute, and for four years directed the Vocal Jazz Ensemble. Formerly the Coordinator of Jazz Studies at Northern Illinois University, he was selected by students and faculty there as the recipient of a 1992 “Excellence in Undergraduate Teaching” award and nominated as its candidate for 1992 CASE “U.S. Professor of the Year” (one of 434 nationwide). He is recipient of the VCU School of the Arts’ 2015 Faculty Award of Excellence for his teaching, research, and service, in 2021 was inducted into the Conn-Selmer Institute Hall of Fame, and is a 2023 recipient of The Midwest Clinic's Medal of Honor. Visit his web site at <www.garciamusic.com>.

| Top |

If you entered this page via a search engine and would like to visit more of this site, please click | Home |.

For further information on the International Trombone Association Journal, see Selected Links.