Ed Neumeister

This self-produced and hard-to-find Austrian release features trombone phenom Ed Neumeister in a rare, intimate setting as leader of a first-class quartet. The American trombonist's classical music background is reflected in his carefully articulated lines and pristine sound, but as with Wynton Marsalis, Neumeister is equally at home playing jazz standards, as he does here with considerable aplomb. Boasting a comfortable three-octave range, the under-recorded Neumeister easily negotiates the changes to his complex "Spring Street," in which he leaps wide intervals with incredible speed, and on the signature Strayhorn tune "Take the 'A' Train," on which the trombonist soloed regularly during his time with the Duke Ellington Orchestra. In terms of technique, Neumeister can do it all, from exhibiting expansive range; spectacular agility; trills; and old-time, down-home, gut-wrenching effects with the wah-wah mute, something he displays to excellent effect on Jimmy Rowles' "The Peacock." At his best, as on the latter tune, the trombonist is one of the finest of his generation, an underrated giant waiting to be discovered. The only drawback is the lack of emotional depth on some of the tunes, in which a consistency in volume detracts from the overall effect. Nonetheless, for much of this recording, the trombonist brings his considerable bag of tricks to the table and leaves the listener largely satisfied, ready for more. His first-rate rhythm section, particularly drummer John Hollenbeck, is a big plus. — Steven Loewy - AMG (All Music Guide) Steven Loewy

A mainstay for leaders from Dixieland through swing, the T-bone never quite recovered from bop, the unfortunate result being that inventive trombone-led combos have been few and far between. However, one listen to New Standards from trombonist Ed Neumeister's quartet, makes it clear that things needn't have turned out the way they did.

With quickly and crisply enunciated solos that encompass the upper registers, Neumeister at times rings out trumpet-like on the self-composed selections “Spring Street” and “A Walk in the Woods.” Both serve as opportunities to match improvisatory skill with European pianist Fritz Pauer. With highly adept articulation and mute work, Neumeister is then able to turn pianist Jimmy Rowles' classic “The Peacocks” into a showcase for the trombone's uncanny capability to mimic the human voice.

While Neumeister is clearly front and center, the session gels. This is in large part due to the creative yet solid NYC rhythm section of bassist Drew Gress and drummer John Hollenbeck, who, along with Pauer, propel things forward while keeping them focused. Ellington's “Take the A-Train” sounds fresh by virtue of Neumeister's coloration and the new course the band charts for this well-ridden route. Likewise, the oft-interpreted Kurt Weill piece “Speak Low” maintains its enchanting melodic mystery and vocal nature, primarily through Pauer's direction, as each band member uses it as a vehicle for personal expression. With New Standards, Neumeister has released a session that breaks down the trombone's stereotype by highlighting its breadth and diverse tonal capabilities within the framework of a cohesive group sound.

~ Elliott Simon
- All About Jazz, Elliott Simon January 2005

Duke Ellington called it the “slippery horn”. The slide trombone has been integral to jazz since the tailgating parade bands of New Orleans. What’s more, trombonists have been among the most idiosyncratic and inventive individualists in jazz: from the smoky southern porch swing of Jack Teagarden, the wailing, neighing vocalizations of Tricky Sam Nanton’s plunger mute and the sly slides of Vic Dickenson to the brash blasts of Bill Harris, the felicitously fast bop of J. J. Johnson, the avant expressionism of Roswell Rudd and the two-toned harmonics of contemporary players.
Two musicians with distinctly different approaches to the instrument have released albums that showcase the trombone in a variety of ways. Ed Neumeister does something few trombonists attempt these days, presenting his trombone front and center in a basic quartet setting with an acoustic rhythm section. Steve Davis, though, puts his trombone in the midst of a more formal setting: a program of seven originals – no head arrangements here – for a quintet with a saxophone or flute plus acoustic rhythm section.
Neumeister’s New Standards (MeisteroMusic Records), debuts on the 18th, the same day the quartet showcases the album at the Jazz Standard. Neumeister once lived in the Big Apple and was a regular in the Vanguard Jazz Orchestra, nee Thad Jones – Mel Lewis Jazz Orchestra. He’s been living in Austria, though for five years. Long before he moved to New York, he cut a wide swath in American music, playing in a band with Jerry Garcia and holding down the Tricky Sam chair in Mercer Ellington’s edition of the Duke Ellington Orchestra.
Neumeister has enlisted a trans-Atlantic rhythm section, with Austrian pianist Fritz Pauer (who recorded some essential duo albums with Art Farmer), bassist Drew Gress and drummer John Hollenbeck, who keeps crackling and snapping with gleeful abandon.
The trombone in Neumeister’s hands pushes beyond recognized limits. He hits registers and tones way beyond the instrument’s comfort zone, and his lines often abandon melodic logic for a daring grasp at intuitive exposition. The album’s program mixes familiar standards – for example, a “Take the ‘A’ Train” rendered new through a time warp of the bridge – with two of the leaders originals and a rocking John Scofield “Picks & Pans”. “Speak Low” is recast as a piece with modal underpinnings and a faster-than-usual tempo, while the leader’s originals reveal melodic depth at easy mid-tempos.
The highlight of the album is a poignant rendition of Jimmy Rowles’ wonderful ballad, “The Peacocks”, limned entirely on exquisitely evocative plunger mute, as if Neumeister were talking in tongues in the course of delivering a eulogy about a humble saint.
The compositions on Davis’ Meant To Be (Criss Cross) loosely parallels the Davis family’s experiences, from the anxious melancholy to elation, in the course of adopting a girl from the Philippines over two years. Davis doesn’t settle for easy, formulaic tunes. Rather, he employs long-form themes deftly arranged to include a creative variety of quintet tones and timbres.
As a trombonist stylist, Davis is the antithesis of Neumeister. While the latter constantly challenges the range and conventions of the instrument, Davis reminds us that it is in the bass clef, and that its tone can be dark and dusky, as well as velvety gorgeous.
On his new CD, Davis is joined by Jimmy Greene, whose tenor sax, soprano sax and flute all blend perfectly with the trombone in ensemble themes. On the last track, a leisurely, long form blues, tenor saxophonist Ray McMorrin makes an auspicious recording debut. The Rhythm section features Xavier Davis, a pianist who can always surprise you; solid bassist Dwayne Burno; and dynamic young drummer Nasheet Waits.
For an illuminating lesson in how improvised solos should relate to and flow out of themes and the relevant harmonic progressions, just listen to any of the tracks on this consistently exemplary album. These solos aspire to a classic - Hot House January 2005, George Kanzler

New Standards works because Prof. Neumeister is one hell of a trombonist, and design-wise, his solos are fanciful reveries (check that mute work on "The Peacocks") that nonetheless boast a steely logic.
(MACNIE ) Village Voice
- Village Voice New York City

Programming is an essential part of any recording endeavor, but one that too often is slighted. This new release by Austria’s Jazz Big Band Graz is a case in point; a generally commendable album whose weakest track is for reasons unknown placed first. And to compound the misstep, trombonist Ed Neumeister’s “Here & There” runs for more than eleven minutes! Far better (in this reviewer’s opinion) to have opened with the sunnier and more rhythmically appealing “Locomotion” (last in line) or even Wayne Shorter’s harmonically lavish “E.S.P.” (which immediately follows “Here & There”).
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Once track two starts spinning, Neumeister’s sizable talents cast a much larger shadow, both on his own compositions, “The Right Tree” and “Longing” (on which he also solos), and his delightfully fresh arrangements of the standards “Alice in Wonderland” and “My Shining Hour.” In fact, the more one listens the stronger the impression becomes that “The Right Tree,” which dashes smartly along behind admirable solos by pianist Fritz Pauer and baritone saxophonist Herwig Gradishnig, may be the most persuasive track on the album — with “Locomotion,” “E.S.P.” and “My Shining Hour” only a step away. “Shining Hour” is greatly enhanced by trumpeter David Jarh who easily earns the prize for most memorable solo. Others who make a strong impression include trumpeter Horst Michael Schaffer (muted) and alto Heinrich von Kalnein (“E.S.P.”), Pauer and trombonist Gzregorz Nagorski (“Alice in Wonderland”), bassist Wayne Darling (“My Shining Hour”) and tenor Klaus Gesing (“Locomotion”). As for Neumeister, he conducts a small–scale clinic on “Longing,” a sumptuous ballad whose mellow voicings for brass and woodwinds complement perfectly his muted trombone.
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The JBBG, a world–class ensemble by any measure, has no trouble unraveling Neumeister’s often formidable charts, and aside from the song that lends the album its name (and that, alas, precedes the others), Here & There is warmly recommended.
- Jack Bowers, AllAboutJazz

I want to tell you what a fantastic time we all has with Ed. His playing was nothing short of spectacular! I don't think that I have ever heard anyone play the trombone with such technical mastery, with such a great sound from the top to the bottom of the horn and with such originality. As with any virtuoso, his horn has become an extension of his being.

My band, Northern Arizona University Jazz One, had the opportunity to perform some of Ed's big band music - 3 original pieces and 2 arrangements of jazz standards. Each of the charts was a pleasure to learn and play. His writing is some of the freshest, most original and challenging music I have come across.

Ed gave two clinics both of which were very instructional, factual and full of fun. His second clinic which dealt with trombone technique and style was scheduled for an hour and went on for two! Faculty and students alike learned a great deal not only about trombone playing but also about music and the music business. He left no question unanswered.

Ed treated everyone here in Flagstaff with the utmost courtesy and was extremely generous with his time. He made a lasting impression on the NAU music community.

Joel Di Bartolo
Director of Jazz Studies
Northern Arizona University
Flagstaff, Arizona
- Joel Di Bartolo Northern Arizona University

On "Reflection", Ed Neumeister's latest release on ArtistShare records, the trombonist and his team of seasoned sidemen invite us into a more delicate and introspective side of the sound spectrum. Never overbearing or forceful, they skillfully and effortlessly weave their way through adventurous terrain while maintaining steadfast interest in each of their combined conversations to keep the listener’s ear close at hand.

Neumeister himself is no stranger to the art form. Having worked with such jazz luminaries as Buddy Rich, Mel Lewis, Gerry Mulligan and Toshiko Akioshi, among others, it's no wonder why his music is both rhythmically complex and deeply lyrical.
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Ed Neumeister

Now, I have listened to this recording several times, each time with growing appreciation. And while I am not usually a fan of trombone solos in general, I have to admit that Neumeister’s performances are so thoughtful and beautifully executed that it just proves the notion that any instrument in the hands of a master can unquestionably soothe the savage beast.

Pay particular attention to the muted solo he takes on drummer John Hollenbecks "Coping Song"... outstanding. Other tracks that stand out as exceptional are: “Trees,” “Osmosis” and “Gobblers Nob,” all of which were written by Neumister who apparently enjoys an elicit love affair with all things outlandish and exotic. Supporting musicians Fritz Pauer (piano), John Hollenbeck (drums) and Drew Gress (bass) each contribute their own impressive compositions to round out the record.

All in all, the aptly titled Reflection is a wondrously intense and enjoyable hour-long journey into the minds of these four very reflective master musicians.

Evan Stone is a drummer based in Los Angeles. More on Ed Neumeister at www.edneumeister.com - jazzpolice.com Evan Stone

After twenty years in New York, trombonist Ed Neumeister went expatriate in 1999, moving his family to Vienna, Austria; he now holds the position of Professor of Trombone studies at the University of Music and Dramatic Arts in Granz, Austria. A veteran of many top big bands led by Duke Ellington Orchestra, Lionel Hampton, Buddy Rich and others, he also earned a Grammy nomination for his arrangement of “A Nightingale Sang in Berkeley Square” in 1992, and he's worked as a freelance trombonist for numerous philharmonic and symphony orchestras.
Despite all those accomplishments, two of his bandmates on Reflection—bassist Drew Gress and drummer John Hollenbeck—can claim higher profiles. Pianist Fritz Pauer rounds out the quartet, which showcases some gorgeously facile group interplay.

The quartet's equilibrium is remarkable. A trombone has the ability to blow in the direction of bombast and brassy volume, but Ed Neumeister's group sounds almost chamber-like in its equality, with each touch of the cymbal ringing clear, each plucked bass note throbbing distinctly. Neumeister—the composer and player—is a master of subtlety and finesse on open or muted horn, and Pauer adds splashes of swirling bright colors with masterful aplomb.

Five of the eight tunes here are Neumeister originals, along with one piece each from Hollenbeck, Gress and Pauer. Things get “jazzy” at times, as on the Neumeister-penned ”Osmosis,” where the trombone sits in a more up-front position; but for the most part, this is thoughtful, erudite music—democratic music, relentlessly beautiful sounds that seem almost suite-like in their interconnectedness.

Reflection shines a very deserved spotlight on a lesser-known talent. - Dan McClenaghan All-About-Jazz

Trombonist and composer Ed Neumeister has performed with some of the best big bands in the business, from the Duke Ellington, Buddy Rich and the Mel Lewis big bands of the past to the contemporary renowned Vanguard Jazz Orchestra. The last seven years however, Neumeister has lived and worked in Austria, teaching and playing with his modern quartet. Now back in the United States, he is busy promoting his most recent release on Artist Share Records, Reflection, recorded earlier this year from Vienna/Austria and Zurich/Switzerland.


Joining the leader on this album are Fritz Pauer on piano, John Hollenbeck on drums & percussions and bassist Drew Gress. The album contains eight original compositions from members of the band with Neumeister contributing five charts producing a set of primarily contemporary mainstream light jazz with sparks of electricity. With the exception of “Osmosis,” the third track, all of the tunes begin slowly in a generally down-tempo mood that warm up into light melodies.

The program opens up with the light rhythm and beat of the percussive “Trees,” featuring a heavy dose of Neumeister’s trombone. Bassist Gress introduces the next piece, which he also penned, “It Was After Rain That The Angel Came,” a gentle and warm harmony.
The band picks up the pace on “Osmosis” a quick moving tune that the leader cooks well with some fine voicing of his instrument. The Title cut starts out rather slowly with some spacing between the first few notes in a four-bar progression and repeating chorus that turns into a ten minute tease containing a nice piano excursion by Pauer. The pianist comes through ones again on his own composition “Yanagumi,” accompanied well by Neumeister’s trombone. The disc rounds out with two notable scores by the leader, “Lumuria” and “Gobblers Nob.”

Reflection captures that warm and soft side of jazz with several mellow and introspective tunes showcasing a fine performance by a world-class trombonist/composer and a veteran combo. An enjoyable album that will please the jazz aficionado and the mainstream audience alike.


Year: 2006
Label: Artist Share Records
Artist Website: www.meisteromusic.com
- By Edward Blanco ejazznews

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I am embarrassed to say that Ed Neumeister is a new name to me, since he is a master trombonist who plays the instrument with a tone and facility that almost belies its membership in the brass family.
Neumeister is a veteran of many large groups, including Mel Lewis' big band, the Vanguard Jazz Orchestra, the Duke Ellington Orchestra, the Lionel Hampton Band and the Buddy Rich Band. After living, teaching and performing in Europe for the last seven years, Neumeister is relocating back to the States. Reflection is but one of his projects, the other (main) one being his NeuHat Ensemble, which performs an exciting mix of classical and jazz.

The music on Reflection is all original, and as such is sort of the flip side to his earlier release, New Standards. Of the eight tracks, five are by Neumeister, plus one each by bassist Drew Gress (”It Was After The Rain That The Angel Came”), pianist Fritz Pauer (”Yanagumi”) and drummer John Hollenbeck (”Coping Song”). Neumeister mentions in the notes that this quartet is a real working band, and that the record was recorded while it was touring. He also talks about how the compositions by the other band members fit perfectly into his conception, without them knowing exactly what that was in advance.

A blowing record this is not, but while the arrangements are more or less evident, the music always maintains the spirit of surprise. It is very light, flexible and delicate, but with a strong center maintained by different player groupings as each track progresses. There is also a very high intelligence quotient, which should not be taken to mean stuffy or precious performances, but rather a conviction that less is more, so everything is in its place and all proceeds naturally according to a plan, without feeling even slightly ”composed.” Thus, the music is a gift, since the listener can perceive and understand what is happening and yet know that there is much more in deeper layers waiting to be explored on the next listen.

The memorable themes and melodies on this disc virtually haunted me for days and days. Whether it is Neumeister's trombone exposition of “Trees” (played in a “delicate Afro 12/8” meter), or the theme of the Gress tune, or even the more open “Osmosis,” the band's improvisation never lets the melody stray never far away—and that makes it memorable and keeps reminding the ear. Hollenbeck's exquisite, extremely moving “Coping Song,” written on 9/12/2001, is a prime example of how the group is not merely a lead trombone with a rhythm section.

Both streaming music and the liner notes can be enjoyed on Neumeister's website, but if you are like me, you will want to play the hard copy for full fidelity. While the notes are detailed, they will not replace close listening to this engaging and rewarding music. Highly recommended. - By Budd Kopman All-About-Jazz