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The 2011 Carmine Caruso International Jazz Trumpet Solo Competition

7 October 2011
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Competition background
The Judges
The Finalists
The Combo
The Clinic
The Competition
The Gala Concert
Final Thoughts/Acknowledgement

COMPETITION BACKGROUND

Grant Peters and Randy Hamm co-hosted the Carmine Caruso International Jazz Trumpet Solo Competition at Missouri State University in Springfield, Missouri on September 24, 2011.  Five finalists were selected among the twenty-six applicants from Finland, France, Germany, Canada, and the United States. The five finalists included: Benny Benack (New York, USA), Jonathan Challoner (Toronto, Ontario, Canada), John Lake (Denver, USA), Christopher Lawrence (Muskegon, USA) and Magnus Schriefl (Germany).

First held in 1993, The Carmine Caruso International Jazz Trumpet Solo Competition is considered the most prestigious competition for jazz trumpeters in the world. Carmine Caruso was one of the world’s greatest brass teachers. It is to the man and his work that the Carmine Caruso International Jazz Trumpet Solo Competition is dedicated. Caruso was born on November 2, 1904, lived his entire life in New York, and died on May 26, 1987. Although he played all the woodwind and string instruments, Caruso made his living as a saxophone player, performing in ballrooms and on radio shows. He played his last club date on his 70th birthday in 1974.  Caruso took his first trumpet student in 1942, and within a year had forty brass students. Brass players from all over the world traveled to New York to study with him, and he developed a reputation for being able to help players improve.  The International Trumpet Guild and the Herb Alpert Foundation sponsor this bi-annual event. The winner of the competition receives $10,000 and the runner-up receives $5,000.

Competition hosts Grant Peters and Randy Hamm

All events were held in the Juanita K. Hammons Hall for the Performing Arts (HHPA) on the campus of Missouri State University.  Included were:
            10:00 a.m.             Carmine Caruso Clinic with Randy Brecker
  1:00 p.m.             Competition
  7:30 p.m.             Gala Concert featuring Randy Brecker, Conrad Herwig and Dick
Oatts

 

THE JUDGES

The 2011 Carmine Caruso Competition, the tenth in the history of the competition, was unique in that for the first time, some of the judges were not trumpet players.  Previous competitions have featured three trumpeters who served as the judging panel; this year’s event included trumpeter Randy Brecker, jazz trombonist Conrad Herwig and saxophonist Dick Oates.

Randy Brecker (www.randybrecker.com) has been shaping the sound of Jazz, R&B and Rock for more than four decades. He can be heard on hundreds of albums with a wide range of artists from James Taylor, Bruce Springsteen and Parliament-Funkadelic to Frank Sinatra, Steely Dan, David Sanborn, Charles Mingus, Jaco Pastorius, Horace Silver and Frank Zappa.  Brecker has gigged with Clark Terry's Big Band, the Thad Jones/Mel Lewis Jazz Orchestra, and the Duke Pearson Big Band.  He was a member of the group “Blood, Sweat and Tears.”  He performed with Stevie Wonder, Eric Clapton, Yoko Ono and the Plastic Ono Super Band, the Horace Silver Quintet, Art Blakey's Jazz Messengers and “Spectrum,” led by Billy Cobham.  In 1975 Randy and brother Michael formed the group “The Brecker Brothers” and recorded six albums and received seven Grammy nominations between 1975 and 1981.  His most recent recordings include Randy in Brasil (2008), which won the Grammy for "Best Contemporary Jazz Album," Tribute to the Brecker Brothers (2008) with Yoichi Murata's Solid Brass & Big Band, and Jazz Suite Tykocin (2009) with members of the Bialystok (Poland) Philharmonic.

Judges and guests soloists for the 2011 CCC - Conrad Herwig, trombone; Randy Brecker, trumpet; and Dick Oatts, alto sax

 

New York-based jazz trombonist Conrad Herwig (www.conradherwig.com) has released 20 recordings as a leader in addition to contributing to nearly 200 other recording sessions with notable artists including Miles Davis, Joe Henderson, Eddie Palmieri, Tito Puente, Frank Sinatra, Joe Lovano and Tom Harrell, among many others.  Herwig’s professional performance career includes big band stints with Clark Terry, Cab Calloway, Buddy Rich, Toshiko Akiyoshi and Mel Lewis.  He also performed and toured with Slide Hampton’s “World of Trombones.”  Herwig performed regularly as a member of Paquito D’Rivera’s Quintet and larger ensembles such as the Dizzy Gillespie inspired United Nation Orchestra. He also continues his long-standing affiliation with the Mingus Big Band, where he has served as musical director and contributed as arranger, most notably on the 2008 GRAMMY-nominated Live at the Tokyo Blue Note (Sunnyside).  Since 2004 he has taught at Mason Gross School of the Arts in the prestigious jazz program at Rutgers University in New Brunswick, N.J. where he is currently Professor of Jazz Trombone, Jazz Improvisation and Jazz Composition and Arranging. 

Born and raised in Iowa, Dick Oatts (www.dickoattsmusic.com/) was brought up in a musical family. He was introduced to the saxophone by his father Jack Oatts, a respected jazz educator and saxophonist. After high school, Dick attended Drake University and in 1972 began his professional career in Minneapolis/St. Paul.  In 1977 Oatts moved to New York City. He has recorded and toured with Red Rodney, Eddie Gomez, Vic Juric, Bob Brookmeyer, Mel Lewis, Dom Salvador, Terell Stafford, Jon Faddis, Lalo Schiffrin, and many others.  His big band and larger group experience include performances with the Vanguard Jazz Orchestra, Mel Lewis, Carnegie Hall Jazz Band, Lester Bowie, Joe Lovano, Sam Jones-Tom Harrell, Paquito D'Rivera, Jim McNeely, Tito Puente, Kenny Wheeler, and Gunther Schuller. He has recorded solos for pop artists Luther Vandross, James Taylor, and Everything But the Girl.  For 30 years, Mr. Oatts has appeared at college jazz festivals as a soloist and clinician throughout the United States, Europe, Asia, Canada, South America, and the Middle East. Oatts is a professor of Jazz Studies at the Boyer School of Music at Temple University and has been an artist-in-residence at the Amsterdam Conservatory since 1997.

 

Grant Peters with the finalists for the 2011 Competition: John Lake, Magnus Schriefl, Benny Benack, Jonathan Challoner and Christopher Lawrence

THE FINALISTS

Trumpeter Benny Benack currently lives in New York City and studies at the Manhattan School of Music. He has studied with such artists as Sean Jones, Laurie Frink, Terell Stafford, Marcus Printup, Scott Wendholt, and Jim Rotondi and others. Benny has been a member of the Gibson-Baldwin GRAMMY Jazz Ensemble in 2008 and 2009, performing alongside Herbie Hancock, McCoy Tyner, Joe Lovano, Terence Blanchard, and Christian Scott. Benny is a 2009 silver award winner of NFAA/Young Arts, which took him to Miami and NYC. In the summer of 2009 he toured with the Next Generation Jazz Orchestra, which performed with Wynton Marsalis at the Monterey Jazz Festival. In 2010 Benny tied for top honors in the Jazz Division at the National Trumpet Competition and he recently won first place in the 2011 International Trumpet Guild Jazz Competition. In the August 1, 2011 issue of Jet Magazine, Benny was featured on Wynton Marsalis’ list of the “Next Generation of Jazz Greats.” Benny is also an accomplished jazz pianist & singer, having sung and performed with his father’s big band from the age of 9.

Canadian Trumpet player and composer Jonathan Challoner hails from Vancouver Island, British Columbia, he now lives in Toronto, Ontario where he is involved in every facet of the city’s diverse music scene. Along with his own quintet, Jonathan is the co-leader of the Heavyweights Brass Band, an inventive and electrifying New Orleans funk band. He is also a member of John MacLeod’s Juno award winning jazz orchestra and Canadian jazz legend Don Thompson’s quintet. He can be heard playing Pop, R&B, Salsa, Maracatu, and more all over Toronto.

John Lake is a trumpet player, composer/arranger, and music educator active throughout the Denver, Colorado area. Lake holds a Bachelor of Music degree from the University of Cincinnati’s College Conservatory of Music in Jazz and Studio Music and a Master of Music degree in Jazz Trumpet from the University of Colorado at Boulder. Additionally, Lake attended the School of Improvised Music Summer Intensive in 2008, as well as the Banff International Workshop for Jazz and Creative Music in 2010. In 2004 he began arranging original music for and performing with an acoustic jazz septet: The John Lake Ensemble. Additionally, Lake is a founding member of the jazz-rock collective SHIRLEY, whose repertoire bears influence from sources diverse as bebop and funk; from the avant-garde to drum-and-bass. As a commercial musician, John Lake performs regularly with rock and pop bands, salsa groups, and big bands, playing both lead and solo trumpet.

Trumpeter Chris Lawrence holds a Bachelor of Music degree from Western Michigan University, where he studied trumpet with Stephen Jones and Scott Thornburg, and improvisation with Rick Holland, Trent Kynaston, Scott Cowan, and visiting artist Fred Hersch. With influences as diverse as Chet Baker, Joni Mitchell, The Smashing Pumpkins, Charles Mingus, Marvin Gaye, and Claude Debussy, Chris has performed around the world with many diverse artists and musicians. Having worked with The John Shea Trio, The Grand Rapids Jazz Orchestra, Pop Icons Linda Ronstadt and Aaron Neville, Latin Ensembles Groupo Aye, Hip Hop band La Famiglia, blues artist Jimmy Dillon, The Lady McGillicuty Brass Quintet, Michigan rock group Four Finger Five and others, he has been exposed to many different concepts and genres of music. He is also an active member of Building Bridges With Music, an organization that uses original music to tackle the issues of prejudice and bullying in the schools. He makes his living as an active performer in the Chicago, Grand Rapids, and Traverse City, MI areas. He and his wife Eve currently live in Grand Rapids, MI.

Trumpet player and composer Magnus Schriefl has toured extensively throughout Europe, Asia, North and South America. As a regular member of Subtone and the Andromeda Mega Express Orchestra, his performances are featured on seven CD releases, including a collaboration with renowned saxophonist Johannes Enders and the European Jazz Orchestra. His band Subtone has been heard at major festivals across Europe, including the Jazz Baltica in Salzau, Germany, the Bohemia Jazz Fest in the Czech Republic and the Tremplin Jazz Festival in Avignon, France, where Subtone was the recipient of both the jury and audience awards. In March 2011, Schriefl participated at the National Trumpet Competition in Fairfax, Virginia, where he won the first prize. He initially began his musical studies in Bavaria, where he studied classical trumpet and piano. Schriefl’s teachers have included Gerard Presencer, Kurt Rosenwinkel, Markus Stockhausen and Laurie Frink. He has shared the stage with artists such as Steven Bernstein, Wolfgang Haffner and Seamus Blake.

 

THE COMBO

Combo for the Caruso Competition: David Pulphus, bass; Kyle Aho, piano; and Michael Drake, drums

Kyle Aho is an adjunct teacher in the jazz department at Missouri State University. He holds a Master’s degree in Music Theory from Missouri State, where he studied with Dr. Peter Collins, Dr. Michael F. Murray, and Randy Hamm, and a Master’s degree in jazz piano performance. He has studied jazz with Fred Hersch, Jerry Bergonzi, Michael Cain, and Frank Carlberg, and he has played in ensembles under the direction of Bob Brookmeyer, George Russell, George Garzone, Allan Chase, Dominique Eade, and Carl Atkins.  Ayohas performed with George Garzone, Joe Lovano, Jerry Bergonzi, Geri Brown, Avery Sharpe, John Lockwood, Charlie Haden, Jeff Coffin, Joe Hunt, Randy Hamm, Bob Gulloti, Benny Golson, Lewis Nash, Arturo O’Farrill, Chico O’Farrill, Richie Barshay, and many others. Aho is featured on several recording labels, including Cadence Jazz, Watercourse, NohJoh, Papaya, and EMP. Untying the Standard, a series of duets with saxophonist Joel Press was featured on The Village Voice’s “Best Jazz CDs of 2009.”

Originally from Durban, South Africa, Michael Drake moved to the Dallas/Fort Worth area to study at the University of North Texas in Denton, where he received his degree in jazz studies. Both locally and nationally, he is active leading his band, as well as performing as a sideman, sharing the stage and/or recording with such acts as Dave Liebman, Marvin Stamm, Kenny Werner, Ed Calle, Paquito De’ Rivera, Rosemary Clooney, Bobby Shew, Paul English, Dave Zoller, Genie Grant, Dallas Symphony Orchestra, Dallas Jazz Orchestra, Pete Petersen and The Collection Big Band, Cal Lewiston Orchestra, Fifth Dimension, The Platters, The Inkspots, Mamas and Papas, Eartha Kitt, Joe Henderson, Billy Taylor, Frank Wess, Conti Condoli, Mark Murphy, Steve Morse, and Pete Brewer, to name a few. He is also active in the metroplex as a drum-set instructor at the University of North Texas, the University of Texas in Arlington, and privately in his home. Drake has performed many drum set workshops and at jazz camps in the United States, as well as internationally.

A native of St. Louis, Missouri, Grammy Award winning bassist David Pulphus has studied the acoustic and electric bass from a young age. Pulphus is currently on the faculty at Langston Hughes Academy, a New Orleans elementary charter school. His duties include implementing a school-based “Music and the Brain” grant, linking early music instruction and cognitive ability through the keyboard, as well as a guitar program via “Little Kids Rock.” He joined the prestigious Terence Blanchard Group in 1995, which tours extensively in Europe, South America, Canada, Japan and the United States. He made his debut recording on Terence Blanchard’s Grammy-nominated CD, The Heart Speaks. He has performed on several of Terence Blanchard’s soundtracks and film scores, including Robert Sullivan’s Soul of the Game, Spike Lee’s Get on the Bus and Summer of Sam, Scott Winan’s ‘Til There Was You, Lee Rose’s Color of Courage (USA Network), and Peter Bogdanovich’s A Saintly Switch (ABC Movie of the Week).
Pulphus has performed with such internationally acclaimed artists as Elvin Jones, McCoy Tyner, Branford Marsalis, Frank Morgan, Kenny Baron, Mulgrew Miller, Freddie Hubbard, Ellis Marsalis, Wynton Marsalis, Roy Hargrove, Cassandra Wilson, Tony Bennett, James Moody, Joshua Redman, Harry Connick Jr., Mark Whitfield, Alvin Batiste, Winard Harper, Steve Turre, Nicholas Payton, Henry Butler, Germaine Bazzle and others.

 

THE CLINIC

Trumpeter Randy Brecker gave a clinic on the teachings of Carmine Caruso.  He began by describing his background leading to his experiences with Caruso.  Brecker was born in Philadelphia; his father was a semi-professional piano player.  He said that in the 1950s there was a great trumpet legacy in Philadelphia, including regular appearances by Clifford Brown, Red Rodney, Dizzy Gillespie, Joe Wilder and others.

Brecker studied with Sigmund Hering, who was a member of the trumpet section of the Philadelphia Orchestra from 1925 to 1964 (www.mellenpress.com/mellenpress.cfm?bookid=2028&pc=9). At age 15 he switched to Tony Marchione, a classical player with “jazz leanings.”  Marchione helped develop Brecker’s reading and general concepts.  In 1962 he attended the Stan Kenton Band Camp, where he met and worked with Donald Byrd and Marvin Stamm. He attended Indiana University and studied with Bill Adam, but after 3 ½ years left school to tour and ended up in New York. Other brass players in New York recommended that Brecker have lessons with Caruso.  Brecker described Caruso as “truly an original teacher.”

Brecker read the Preface to Caruso’s book: Musical Calisthenics for Brass (can be found at www.carminecaruso.net/mcfb/caruso04.GIF). He described Caruso’s approach as “radical” for that period – Caruso doesn’t discuss music, but speaks in terms of muscle development, an approach that was unusual at that time.

He explained Caruso’s “Four Rules:”

  1. Tap your foot. The use of a metronome is encouraged, but the player should eventually internalize the pulse.
  2.  Keep the mouthpiece in contact with the lips throughout each study. This includes rests. Avoid excess motion and any change to the embouchure.
  3. Keep the blow steady. Breathe deeply and naturally.
  4. Breathe only through the nose. This works in combination with Rule #3 to reduce the amount of muscular activity it takes to produce the note. (www.carminecaruso.net/mcfb/caruso07-8.GIF)

Caruso said that the player should not worry about the pitch or the sound: “This discipline is physical, not musical.”

The approach above is used to play Caruso’s “6 Magic Notes,” moving from second-line g chromatically up to third-space C. Players should hold each pitch for two half notes and one whole note, counting throughout. Always start with a breath attack; this avoids the use of the tongue for false air support.  Breath attacks also mean that the lips must be positioned properly in order for the note to sound immediately (see www.carminecaruso.net/mcfb/caruso09.GIF). Brecker said that Caruso adapted his teaching to each student and that he was able to ascertain and fix various problems. For Brecker, this approach resulted in a noticeable change in his range, flexibility and consistency.

Additional exercises were described to expand range and endurance.  These exercises are based on the overtone series and are primarily airstream exercises. Each week he would practice different intervals, from thirds up to octaves (www.carminecaruso.net/mcfb/caruso11.gif). Brecker described Caruso’s method as “somewhat controversial and misunderstood.” However, he said playing Caruso exercises at the end of the day “sets [him] up for the next day.” Brecker also referenced a book by Laurie Frink and John McNeil entitled Flexus (www.abel.hive.no/trumpet/interview/flexus/).

Brecker ended this portion of the clinic by providing several anecdotes about Caruso, and conclude by saying Caruso was a “24-hour-a-day teacher.”  Whenever Caruso went out, trumpet players would stop him to ask questions about approaches to playing.

Brecker indicated that he has adapted many of Bill Adam’s exercises into the Caruso-style of playing, and that he also uses the Sigmund Hering “intermediate studies” for reading. Brecker suggested visiting Jeff Helgesen's website - www.shout.net/~jmh/ - where trumpeters can find numerous transcribed jazz trumpet solos. Brecker practices and develops these solos much like etudes.  He also recommends that students should transcribe solos themselves.

Brecker ended his clinic by answering questions before introducing his new play-along CD, called Play the Music of Randy Brecker (www.ejazzlines.com/PLAY-THE-MUSIC-OF-RANDY-BRECKER-p62520.html). He explained that he played along with recordings as a young trumpet player and that albums like this allow him to play with a rhythm section, even on “days off.”  He indicated that when he has time off he might play as much as two hours daily with such a recording.

 

THE COMPETITION

The competition began with greetings from Grant Peters, co-host of the Caruso Competition, and introductions of the judges and members of the combo. Each contestant performed four works with the Competition Trio, including the required work, Edward Peterson’s Lee-Way. This work was written exclusively for the competition.

Benny Benack
Repertoire:            Lee-Way – Edward Peterson
                        Little B’s Poem – Bobby Hutcherson
                        Smoke Gets in Your Eyes – Jerome Kerns
                        Steel – Benny Benack

Benny Benack began his set with the required piece for the competition, Edward Peterson’s Lee-Way.  He explained that each contestant received this piece at the beginning of their 90-minute rehearsal with the trio, and had to choose “on the spot” how they wanted to perform the work.  Benack performed Lee-Way as an up-tempo shuffle that featured some clever interplay between him, pianist Kyle Aho and drummer Michael Drake.  Following Bobby Hutcherson’s Little B’s Poem Benack played Jerome Kerns’ Smoke Gets in Your Eyes a la Clifford Brown (Clifford Brown With Strings). To end his portion of the competition, Benack played an original composition titled Steel.  He explained that he is originally from Pittsburgh, Pennsylvania and that the piece was dedicated to “The Steel City” and his favorite football team – the Pittsburgh Steelers. Steel has a funky feel to it, reminiscent of a Pat Metheny chart, and provided rhythmic challenges for the trio.

Christopher Lawrence
Repertoire:            Mr. Weirdo – Caleb Curtis
                        Sleeping Bear – Christopher Lawrence
                        Lee-Way – Edward Peterson
                        Ted – Christopher Lawrence

Chris Lawrence played Mr. Weirdo, by Caleb Curtis, for his opening work. His use of the harmon mute throughout created an interesting texture but made his solo choruses difficult to hear. His next work, Sleeping Bear, was written for his wife, Eve. Lawrence’s rendition of Lee-Way was slower and in a decidedly funkier style than as performed by the previous competitor. His final work – Ted – was dedicated to a friend whom Lawrence described as “the most forward-thinking person I know.” It opened with an extended trumpet solo featuring a great deal of acrobatics and agile, angular lines that settled into a funk-feel that switched to swing style for the bridge.

Jonathan Challoner
Repertoire:            Darn That Dream – Jimmy Van Heusen
                        Winter Sweet – Kenny Wheeler
                        Ends – Dan Fortin
                        Lee-Way – Edward Peterson

Jonathan Challoner began his set by playing Jimmy Van Heusen’s Darn That Dream in a latin feel – the first Latin-styled work of the competition, and in 7 to boot! Canadian trumpeter and composer Kenny Wheeler’s Winter Sweet followed. Challoner the played Ends, by Dan Fortin and segued into Peterson’s Lee-Way to end his portion of the competition.

John Lake
Repertoire:            Lee-Way – Edward Peterson
                        Body and Soul – Johnny Green / John Lake
                        I Love You – Cole Porter / John Lake
                        Denver Has the Blues – John Lake

John Lake chose to begin his set with Lee-Way, the required competition composition.  He followed this with his own arrangement of Johnny Green’s Body and Soul, which featured numerous interesting chord substitutions. Lake gave a similar treatment of Cole Porter’s I Love You, but performed it in the style of a samba, to make the piece “easier to dance to.” Lake ended with Denver Has the Blues, an original composition.

Magnus Schriefl
Repertoire:            Lee-Way – Edward Peterson
                        Osterhasi – Magnus Schriefl
                        Peace – Horace Silver
                        The Clash – Magnus Schriefl

Lee-Way was also Magnus Schriefl’s opening work, but his treatment of this piece was vastly different than the other renditions.  Featuring an extended, free-style opening solo, Schriefl’s approach was distinctive.  His next work, an original composition, was titled Osterhasi, which means “Easter Bunny.” An extended opening solo was also a hallmark of Horace Silver’s Peace.  He ended his set and the competition with an original work he called The Clash. This began with an extended solo, this one featuring multiphonics by the trumpeter.

Special recognition and thanks to the trio of pianist Kyle Aho, drummer Michael Drake and bassist David Pulphus, who will also serve as the rhythm section with the Missouri Jazz Orchestra for the evening Gala Concert.

 

THE GALA CONCERT

The evening’s Gala Concert was held in the Juanita K. Hammons Hall for the Performing Arts on the campus of Missouri State University and featured the Missouri Jazz Orchestra (Randy Hamm, director) with solo performances by each of the distinguished judges and the competition finalists. An enthusiastic crowd of almost 700 was in attendance.

The concert began with the Missouri Jazz Orchestra (MOJO) performing Freddie Green’s Corner Pocket. The Missouri Jazz Orchestra is made up of local musicians from the Springfield and Branson, Missouri areas, and performs twice a month at Marty's Sportsbar.  Their performance of the Basie standard was a solid start to the evening’s concert.

John Lake gave a reprise performance of his arrangement of Cole Porter’s I Love You with Kyle Aho, piano, drummer Michael Drake and David Pulphus, bass. Benny Benack performed his original work titled Steel. Jazz trombonist Conrad Herwig then joined MOJO for two works: Lonnie’s Lament by John Coltrane and arranged by Herwig and Walter White, and Herwig’s arrangement of Body and Soul. Lonnie’s Lament was performed in an Afro-Caribbean feel.  Herwig jokingly apologized for not being a trumpet player, but he pretty much lives in the treble clef.  His solos often elicited applause from the audience even before his solo had ended. His arrangement of Body and Soul was penned in 1979, when Herwig was still a student at North Texas State University and a member of the famous 1:00 Lab Band. With a Latin-jazz feel, this arrangement was describe as “the most vicious arrangement of this piece ever heard” by Director of Jazz Studies Leon Breeden.

Christopher Lawrence entered the stage and gave a repeat performance of Mr. Weirdo by
Caleb Curtis. Beautiful Love by Victor Young and arranged by Paul McKee and Leap of Faith, composed by Dick Oatts and arranged by Bob Washut were Dick Oatts’ selections for the evening. Leap of Faith also featured exciting solos by Mark Brueggemann, lead trumpeter with MOJO, lead alto sax Randy Hamm and drummer Michael Drake.

After a short intermission Jonathan Challoner performed Jimmy Van Heusen’s Darn That Dream with the competition trio and Magnus Schriefl played his original composition entitled The Clash.  The final soloist of the evening was trumpeter Randy Brecker. Brecker performed two original compositions, You’re in My Heart, arranged by Rich Shemari and Freefall, arranged by Vince Mendoza. You’re in My Heart was played as a jazz waltz, while Freefall is in a straight-ahead Latin feel.

ITG President Kevin Eisensmith, Treasurer Dixie Burress, Caruso Committee Chairman Ed Reid and Competition co-host Grant Peters entered the stage to announce the winners of the 2011 Carmine Caruso International Jazz Trumpet Solo Competition.  Magnus Schriefl was announced as the second place recipient, and received a check for $5,000 from President Eisensmith.  Benny Benack was named the winner of the competition and received hearty congratulations and a $10,000 check from Eisensmith.

Following the awards ceremony, Schriefl and Benack remained on stage and were joined by the three judges for the competition - Dick Oatts, Conrad Herwig and Randy Brecker - for a rousing performance of Frank Foster’s Blues in Hoss Flat.  Lead trumpeter Mark Bruggemann was featured during the work, and then the winners and judges took turns dazzling the audience.  Individual solos, trading of fours, twos and the inevitable “free for all” brought yet another enthusiastic round of applause from the audience.  The Missouri Jazz Orchestra “brought it home” and brought a full day of jazz to a fitting conclusion.

Caruso competition co-host Grant Peters with Kevin Eisensmith - President of ITG (2009-2011), Benny Benack - winner of the 2011 Carmine Caruso Competition, Magnus Schriefl - 2nd place, Dixie Burress - ITG Treasurer, and Ed Reid - Caruso Committee Chairperson

 

FINAL THOUGHTS

Congratulations and thanks to competition co-hosts Grant Peters and Randy Hamm for the succesful event.  Thanks also to Treasurer Dixie Burress and Caruso Committee Chairman Ed Reid for their participation. 

The site for the 2013 Caruso Competition will be co-hosted by Alan Siebert, Kim Pensyl and Scott Belck at the University of Cincinnati.  The proposed dates will be announced shortly. 

ACKNOWLEDGEMENTS

Competition Sponsors: The International Trumpet Guild with generous support from the Herb Alpert Foundation
Competition Hosts: Grant Peters and Randy Hamm
Photography: Kevin Eisensmith, ????

 

 

Source: Kevin Eisensmith, ITG Past-President

 

 
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