Maiden Voyage Jazz Solos: Trombone Book & CD

Rick Simerly's demonstration performances on the included CD show students what these solos actually sound like when played with real jazz time and phrasing. The fact that Niehaus wrote these specifically for the Volume 54 accompaniment means every solo sits perfectly within that harmonic and rhythmic context, removing the guesswork from solo selection and letting trombonists focus on what matters: developing their jazz voice.

These solos capture the relaxed sophistication of modal jazz, swinging with the ease of someone who knows exactly where the pocket is. Each line flows naturally across the changes, inviting the trombonist to phrase like a vocalist rather than mechanically parsing chord tones.

Intermediate and advanced jazz trombonists ready to play real jazz solos with proper feel and interpretation. This collection works particularly well for students in their second or third year of jazz study who have mastered basic improvisation and are ready to tackle written solos with stylistic nuance.

• Study Simerly's phrasing on the CD before attempting each solo. Note where he sits behind the beat, where he pushes forward, and how he shapes phrases across bar lines rather than within them.
• Work slowly through the written solo first to understand the harmonic and melodic logic, then listen repeatedly to how Simerly interprets the same notes.
• Practice the solos with the Volume 54 play-along tracks at a slower tempo, building your confidence with the harmonic movement before matching Simerly's tempo and feel.
• Record yourself playing along with the accompaniment and compare your rhythmic placement to Simerly's approach. This self-assessment sharpens your ear for jazz articulation.

Integrate these solos into your jazz ensemble's study of the Volume 54 play-along, assigning different solos to different trombonists across a rehearsal cycle to build individual voices. They also work as performance pieces for jazz recitals, small group concerts, or as contest selections where students can demonstrate both solo facility and ensemble listening.

• Jazz phrasing and rhythmic placement relative to the beat
• Interpreting written solos with stylistic authenticity
• Voice leading through chord changes on the trombone
• Balancing technical precision with musical expression
• Listening and responding to ensemble accompaniment