Tom Erdmann, reporter

Finalists:
Jonathan Barnes, Rowan University
Jean Caze, Florida International University
Max Darche, SUNY at Purchase
Evan Weiss, University of North Texas

Rhythm Section:
Douglas Mapp, bass
George Genna, piano
Jim Miller, drums

Preliminary Judges
Al Hood, University of Denver
Ramon Vasquez, Auburn University
Michael Stewart, Chicago Brass Choir

Finals Judges:
Terrell Stafford, Temple University/Recording Artist
Marvin Stamm, Recording Artist
Leonore Raphael, Jazz Pianist/Recording Artist

There's nothing like trying to play the trumpet at 8 in the morning. All trumpeters, however, have found themselves, at one time or anther, just like this year's finalists, facing just such a dilemma.

The rules for this year's competition were simple. Each had to play Cherokee, a ballad of their own choosing, Struttin' With Some Barbeque and either Nardis or Birk's Works.

While it would be great to write in depth regarding each of the four soloists, space permits only a brief synopsis of each. Rest assured, the following only barely captures the smallest essence of each artist. Fittingly, the audience's response to all was warm and appreciative.

Max Darche opened with Birk's Works. His solo worked soft and short phrases before reassembling them into loud and long tirades of thought full of angst and power, which gave way to a wonderful deconstruction of the harmonies at the end. Darche's take on Struttin' honored Louis Armstrong through the use of touches of the icon's styled vibrato at the end of sustained notes. The highlight of his set, however, was Darche's incredibly dark and sensual flugelhorn tone. His use of this instrument on Round Midnight perfectly amplified his lines and sweeping touches of fancy.

Jonathan Barnes' introduction to Struttin' honored Armstrong by dueting with the piano ala Weather Bird, before the rest of the trio came in. Barnes then approached the solo with measured grace. On Nardis he incorporated modal shades into a solo that didn't play down to base simplicity. Using melodic abstraction to convey a sense of discovery and dismay, he used a truly thoughtful and unique application of upper chordal structures to take the piece to new territory. You Don't Know What Love Is was performed in a beautifully simple, poignant and direct telling of the lyrics in a jazz world increasingly being lost to a dissolve of notes tossed off as fast as possible. Restraint and careful choices were the watchwords of Darche's performance.

Jean Caze began What's New in a sub-toned duet with the bass that evoked memories of how Miles was able to change his tone to fit the emotion. Caze did the same as he reflexed back and forth with a more pure and clean tone. Such dexterity was well appreciated and acknowledged appropriately by the audience. The same fluidity of tone was joined by a stylistic acumen as he took on a bluesy inspired reading of Struttin'. The hallmark throughout Caze's performance was understatement. You don't need tons of volume or notes to get ideas across or build bridges to your audience. Preferring to suck the audience into his world rather than hit them over the head, Caze's moments were delightful and truly unique.

Evan Weiss' cadenza that opened Nardis utilized a lot of harmonic patterns and repetitions leading into a transcendental take on the changes even before the melody proper. Following an introspective solo, he found a way to accompany and drive the piano solo from behind his trumpet that showed true originality. Darn That Dream refused to allow turnarounds to follow set metrical units, instead preferring to set them in opposition to the melody's flow and in the process created brooding and richly crafted auras.

In summation it must be stated just how solid the accompanying trio performed. With a true understanding of the style of the diverse works, these musicians did more than just support the trumpeters, they prodded and encouraged as well.