 Carmine Caruso was one of the world's greatest brass teachers. It is to the man and his work that the 2007 Carmine Caruso International Jazz Trumpet Solo Competition is dedicated.
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The 2007 Carmine Caruso International
Jazz Trumpet Solo Competition
By Kevin Eisensmith
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Competition hosts
L- R: Jeffrey Haskell and Edward Reid
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On November 3, 2007, Edward Reid and Jeffrey Haskell hosted the Carmine Caruso International Jazz Trumpet Competition at the University of Arizona in Tucson, Arizona. Five finalists were selected among the thirty-four applicants from Finland, Australia, New Zealand, Canada, England, and 15 states within the United States. The five finalists included: Charles Porter (New York, NY), James Davis (Evanston, IL), Ambrose Akinmusire (New York, NY), Tobias Kaemmerer (Chicago, IL), and Matthew Holman (Chicago, IL).
Carmine Caruso was one of the world's greatest brass teachers. According to Charly Raymond (http://abel.hive.no/trumpet/interview/caruso/), Caruso was born on November 2, 1904, lived his entire life in New York, and died on May 26, 1987. Caruso made his living as a saxophone player, performing in ballrooms and on radio shows. In 1941 he gave up the big bands for full-time teaching. In 1942 Caruso took his first trumpet student and within a year had forty brass students. Brass players from all over the world came to New York to study with him, and he developed a reputation for being able to help players improve.
First held in 1993, The Carmine Caruso International Jazz Trumpet Competition is considered the most prestigious competition for jazz trumpeters in the world. 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. The University of Arizona School of Music, UA Presents, and the Tucson Jazz Society contributed to the competition, and all events were offered free of charge to those in attendance.
Events included:
10:30 a.m. Lecture Crowder Hall, UA School of Music
12:00 p.m. Competition Crowder Hall, UA School of Music
7:30 p.m. Gala Concert Centennial Hall, The University of Arizona
The Judges
Vincent DiMartino is known well throughout the trumpet world. A long-time member of ITG and a twice-past President, he teaches at Centre College in Danville, Kentucky. A graduate of the Eastman School of Music, DiMartino served for twenty years as the Alumni Distinguished Professor of Trumpet at the University of Kentucky before joining the faculty at Centre College in 1993. As a trumpet clinician and soloist DiMartino has visited more than 150 colleges and universities throughout the United States.
DiMartino has performed with artists such as Henry Mancini, Doc Severinsen, Pearl Bailey, Dizzy Gillespie, and Dave Brubeck, and as a soloist with many symphony orchestras, including those in Cincinnati, Buffalo, Santa Fe, Orlando, and Rochester. He is prominently featured in many recordings of the Cincinnati Pops Orchestra. DiMartino has been the lead and solo trumpet in the Lionel Hampton Band, the Chuck Mangione Band, the Clark Terry Band, and the Eastman Arrangers Holiday Orchestra. You can learn more about Vincent DiMartino through Centre College's web site (http://www.centre.edu/web/academic/faculty/dimartino.html)
Jazz trumpeter Pat Harbison currently teaches jazz history and improvisation and conducts ensembles at Indiana University. He has been a member of the faculty for Jamey Aebersold Jazz Workshops since 1976. A graduate of the University of Louisville, where he studied trumpet with Leon Rapier, Harbison became a protegé of jazz education pioneer Jamey Aebersold, and spent time free-lancing in New York City and studying with Carmine Caruso. He returned to his native Indiana for graduate study in jazz with David Baker and trumpet with William Adam. Harbison has performed and recorded with his own groups, including his solo debut, After All and the 2002 recording Conspiracy Theory, both on WholeTone Records. Harbison has performed with the Jamey Aebersold Quintet, the PsychoAcoustic Orchestra, The Steve Houghton Quintet, John VonOhlen's Blue Wisp Big Band, and David Baker's 21st Century Bebop Band. In over three decades as a jazz trumpet artist and educator, Harbison has performed at major jazz concerts and festivals and taught aspiring musicians about jazz around the world. He is the author of many articles on jazz and trumpet, as well as several books, including Technical Studies for the Modern Trumpet and Twenty Authentic Bebop Solos (both published by Aebersold). Harbison is a member of the Board of Directors of the International Trumpet Guild. To learn more about Pat Harbison visit his web site (http://www.patharbison.com/)
Byron Stripling began his professional performing career as lead trumpeter and soloist with the Count Basie Orchestra under the direction of Thad Jones and Frank Foster. He also played and recorded extensively with the bands of Dizzy Gillespie, Lionel Hampton, Clark Terry, and Buck Clayton, in addition to The Lincoln Center Jazz Orchestra, The Carnegie Hall Jazz Band, and The GRP All Star Big Band. Educated at the Eastman School of Music and the Interlochen Arts Academy in Interlochen, Michigan, Stripling has soloed with the Boston Pops, National Symphony, Pittsburgh Symphony, Cincinnati Pops, Seattle Symphony, Baltimore Symphony, Minnesota Orchestra, The American Jazz Philharmonic, and others. He has been a featured soloist at the Hollywood Bowl and performs at jazz festivals throughout the world. "An accomplished actor and singer, he was chosen, following a world-wide search, to star in the lead role of the Broadway-bound musical "Satchmo." Television viewers have enjoyed his work as soloist on the worldwide telecast of The Grammy Awards, and many have heard his trumpet and voice on television commercials, TV theme songs, including "20/20," and soundtracks of favorite movies. He currently serves as artistic director and conductor of the highly acclaimed Columbus Jazz Orchestra. More information about Byron Stripling is available on the Internet (http://www.byronstripling.com/).
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The Finalists for The 2007 Carmine Caruso International Jazz Trumpet Solo Competition
L-R: Matthew Holman, Tobias Kaemmerer, James Davis
Charles Porter, Ambrose Akinmusire
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The Finalists
Ambrose Akinmusire is a graduate of the Manhattan School of Music, where he studied with Vincent Pinzerella of the New York Philharmonic, Dick Oatts, Lew Soloff, and Laurie Frink. Currently a Masters candidate at the University of Southern California and a member of the Monk Institute, Ambrose has also studied with Terence Blanchard, Billy Childs, and Gary Grant. He has worked with such artists as Jimmy Heath, Jason Moran, Hal Crook, Bob Hurst, Terri Lynne Carrington, Ron Carter, and Wallace Roney, and performed in Vietnam with Herbie Hancock and Wayne Shorter. More information is available through his web site (http://www.ambroseakinmusire.com/).
James Davis received a Bachelor of Music degree from the University of Texas at Arlington and a Master of Music degree in trumpet performance from the University of North Texas. His performance experience includes work with The Glenn Miller Orchestra, the UNT One O'Clock Lab Band, Chuchito Valdes, Rob Parton's Jazz Tech Big Band, Alan Gresik's Swing Shift Orchestra, the Tomorrow Music Orchestra, the Las Colinas Symphony Orchestra, the Texas Wind Symphony, Camerata Winds, and other jazz, classical, and Latin music groups. He is currently on the faculty at Triton College in River Grove, Illinois as Director of the Jazz Band. More information on James is available on the Internet (http://jcdavis.org/main%20site/welcome.html).
Matthew Holman completed his Bachelor's Degree in jazz studies from Indiana University and was awarded the prestigious Performer's Certificate in 2004. He studied with Joey Tartell, Marie Speziale, Dominic Spera, William Adam, Pat Harbison, and David Baker. He has performed with the Buselli/Wallarab Jazz Orchestra, David Baker's IU Jazz Ensemble, and the Bloomington Pops. He also freelanced with ensembles that opened concerts for Linda Ronstadt, AACM reedist Joseph Jarman, Liquid Soul, and punk-rock deities Fugazi and Wesley Willis. Holman maintains a busy private music studio throughout the Chicago area and has been a staff member at the following Wisconsin music centers: Birch Creek Performance Center in Egg Harbor, the Indianhead Arts Center in Shell Lake, and the Whitewater Summer Jazz Camp. To learn more about Matthew visit his web site (http://www.mattholman.com/music.php).
Tobias Kaemmerer holds an undergraduate degree in music business from DePaul University. He has studied with Terrell Stafford, Bryan Lynch, and Marvin Stamm, and has played at many of the most popular European jazz festivals, as well as the JVC, New Orleans Jazz and Heritage, and IAJE festivals in the United States. Kaemmerer has shared the stage with Slide Hampton, Phil Woods, Randy Brecker, and Jim McNeely. He currently plays with a wide variety of jazz, Latin, and hip-hop groups, including a trio of his own. He also teaches trumpet as well as jazz improvisation to private students in and around the Chicago area. (http://tobiaskaemmerer.com/)
Charles Porter holds a Bachelor's degree from the Juilliard School of Music and is currently a student at the Manhattan School of Music, where he is pursuing a MasterÕs degree in jazz performance. He has studied with Wynton Marsalis, Raymond Mase, and Mark Gould. As a Fulbright Scholar he studied for a year with Guy Touvron at the Paris Conservatory. Porter has performed and recorded with Paquito DÕRivera, David Taylor, Kenny Drew, Jr., Peter Erskine, Daniel Schnyder, Ira Sulivan, Lew Soloff, and others. He has been a member of Kristjan JarviÕs Absolute Ensemble since 1996 and has performed with such diverse groups as the Moscow Chamber Symphony and the Mingus Big Band. Charles has his own web site if you are curios to learn more about his background and career (http://www.charlesportermusic.com/).
The Competition Combo
Jeff Holmes is a member of the faculty at the University of Massachusetts at Amherst, and was featured prominently as a trumpeter and pianist at the 2007 ITG Conference. Holmes holds Bachelors and Masters degrees from the Eastman School of Music. He is a successful composer and arranger, having written for Ernie Watts, Max Roach, Yusef Lateef, Doc Severinsen, and the Tommy Dorsey Orchestra, as well as composing works for military, college, high school, and middle school jazz, concert, and marching ensembles. He has performed with Dizzy Gillespie, Sammy Davis Jr., Louis Bellson, the Vanguard Orchestra, Sheila Jordan, Henry Mancini, Johnny Mathis, Mel Torme, David Goloschokin, Bob Mintzer, Slide Hampton, and in the orchestras for numerous New York City Broadway shows. He is the leader of the Jeff Holmes Big Band and performs with other ensembles throughout the New England area. He directs the UMass-Amherst Jazz Ensemble I and the Studio Orchestra. To learn more about Jeff Holmes go to the UMASS music web site (http://www.umass.edu/music/faculty/index.html).
Scott Black started his study of jazz as a trumpet player at Indiana University, graduating in 1976. Six years in New York City followed. During his time in New York City Black switched from trumpet to the bass. Moving to Chicago in 1983, he directed a jazz school, taught private lessons, and performed. Black has been a resident of Tucson for the past six years. He directs middle and high school jazz combos, records with local and visiting musicians, and can be seen nightly performing in and around Tucson.
Drummer Fred Hayes was born and raised in Indiana. He moved to Tucson in his teens and was the first graduate of the University of Arizona's jazz program. After graduation he worked throughout the western U.S. with artists such as Diane Schuur, Joe Williams, Slide Hampton, Ernie Watts, Wycliffe Gordon, and others. He performs locally with the Tucson Jazz Orchestra, Tucson Swings, the Tucson Hard Bop Quintet, and leads his own Calypso group. Recording sessions, live performances, and a full schedule of private students make Hayes one of the busiest free-lance musicians in Arizona.
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Patrick Harbison lectures and demonstrates the teaching methods of Carmine Caruso
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The Caruso Clinic by Pat Harbison
The 550-seat Crowder Hall is located in UA's School of Music, and served as the venue for both the Carmine Caruso Clinic, presented by Pat Harbison, and the preliminary round of the Competition itself.
Harbison began his informal session by saying that he first began studying with Carmine Caruso in 1975. By his own admission, at that time Harbison was: "a good improvisor, but [I] had no endurance and a crappy sound." After only a handful of lessons, he noticed a difference in his playing, and credits Caruso with saving his career.
Harbison said that Caruso didn't fit the profile of the typical teacher of trumpet players, but that he had a "diagnostic ability to boil things down to essential principals that transcended individual instruments." Harbison would often observe other lessons, and Caruso taught people who played the tuba, violin, oboe, horn, bass trombone, and other instruments. Harbison even overheard Caruso teaching a lesson to trumpeter Herb Alpert over the telephone! Caruso used modifications of the same drills and exercises and adapted them to each instrument.
According to Harbison, many people today are using the Caruso information incorrectly, and are not getting the results they should. He said that the two main points of Caruso's teaching were: 1) playing is not about strength; it's about coordination, and 2) all music is made up of intervals; if you learn to play intervals more "cleanly," then you will play the music more efficiently.
Harbison stated that many people have the misconception that Caruso's exercises are about building strength. However, many problems that trumpet players experience deal with muscle groups not moving together, and the result is tension. He said that building strength was actually secondary, and that the development of coordination was what leads you to playing "cleanly."
He explained Caruso's "Four Rules"
- Tap your foot. For the exercises described below, he suggested a tempo of quarter note = 60, and that the player should mentally subdivide every beat into 16th notes.
- Keep the blow steady. Do not think about how you breathe; simply breathe naturally and deeply.
- Keep the mouthpiece in contact with the lips throughout each study. This includes rests. This is to reduce the possibility of "resetting" the embouchure for higher or lower notes.
- 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.
Over time the muscle groups will learn to work together. This will increase efficiency and coordination.
Harbison described "The Six 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 while thinking a sixteenth-note subdivision. Play at a "normal" volume level; what Caruso called "at room temperature." 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. Once a student was able to accomplish this, Caruso would add variations, such as dynamic contrasts (pp to ff or ff to pp), or increasing the exercise to encompass an octave.
The next exercise involves playing different intervals, such as an ascending scale in seconds (G-A-G, A-B-A, and so on). Breathing through the nose and keeping the mouthpiece on the lips, continue ascending until the notes no longer speak. Harbison stated that these exercises are "not pretty." They are not designed to sound like music; they are conditioning exercises or calisthenics. He likened them to push-ups, not dancing. Once a person can play these exercises with a 16th note subdivision, he recommends playing them while thinking 32nd notes. This achieves a further refinement of the precision of playing.
Harbison reiterated that Caruso's approach was not about developing strength. Caruso would say that: "playing the trumpet is not like weight lifting, but more like juggling." He also said that Caruso taught something very specific, and that if a player had a problem that didn't deal with what Caruso taught, he would send that player to another teacher.
Harbison said that he never took a specific piece of music to work on with Caruso. Instead, he worked on exercises found in the Clarke Technical Studies, Schlossberg's Daily Drills and Technical Studies, and the Carl Baermann Method for Clarinet. Caruso said this book utilizes the range required for modern trumpet players.
Using the third study from Clarke, Harbison demonstrated playing exercise #59 (G) first with one quarter note for each pitch, breathing through the nose (and out of rhythm) when necessary. He reminded the audience to think 16th note subdivisions. He then repeated the exercise, this time using 8th notes, and finally a third time using 16th note rhythms.
Harbison remarked that some of his friends did work on specific pieces of music with Caruso, and used a passage from the Halsey Stevens Sonata (Mvt. I) as an example of Caruso's approach: play each note of this passage as a quarter note, then as 8th notes, and then finally as 16th notes.
Harbison concluded by saying that Caruso's approach was "evolutionary, not revolutionary." He said that he never talked about posture or embouchure with Caruso, but noticed a change in both after a few years of study. He recommended that those interested in more information about the Caruso method go to the Trumpet Herals web site (www.trumpetherald.com/forum/) and follow the link to the Carmine Caruso forum, which contains additional supplemental information.
The Caruso Competition
The Competition began with greetings from Jeff Haskell, co-host of the Competition, who introduced the judges and members of the combo. A small but enthusiastic audience was present. Each contestant performed four works with the Jeff Holmes Trio. All five soloists were required to perform Jeff HolmesÕ Groove. This work was written exclusively for the competition.
Ambrose Akinmusire
Repertoire: Ruby - Akinmusire, Stablemates - Benny Golson, Groove - Jeff Holmes, Autumn in New York - Vernon Duke
Akinmusire began his set with an original work entitled Ruby. This piece was dedicated to his grandmother. An extended trumpet cadenza established his agility as a player and his gentle sound. The combo joined Akinmusire in what became an easy swing. The piece built to enthusiastic climax with Akinmusire showing for the first time his range and powerful sound. This work featured a wide variety of emotions and colors, and was an excellent opener. Stablemates was next on the program. In an up-tempo Latin style with the bridge shifting to swing, Akinmusire's solo was reminiscent of Freddie Hubbard. An enthusiastic exchange between trumpet and piano made it seem as though the combo had been performing this piece together for years. There was a great deal of energy on the stage! The audience next heard Jeff Holmes' Groove in a New Orleans-style shuffle, complete with a stop time section. Akinmusire really let his hair (or in his case, dreadlocks) down, getting "down and dirty" on his solo here! For his final work, Akinmusire chose Autumn in New York, and returned to an easy swing feel. He ended the piece with an extended cadenza, bringing a sense of balance to the entire performance. This was a fine set featuring a balance of styles, with Akinmusire showing a great deal of versatility in his solos.
Matthew Holman
Repertoire: Groove – Jeff Holmes, Once it was Said – Matthew Holman, Forgotten Virtues – Matthew Holman, I Mean You – Thelonious Monk & Coleman Hawkins
Holman opened with Jeff Holmes' Groove, here in an easy swing style. His crystal-clear sound and the ease with which he got around the horn were immediately evident. The next two works were original compositions by Holman. Once it was Said was a joyous, happy jazz waltz similar in style to works by Pat Metheny. Performing on flugelhorn, the soloist and combo worked well together creating seamless transitions from one section to the next. An extended vamp at the coda gave Holman yet another chance to showcase his considerable skills as a player. The audience responded enthusiastically. Switching back to the trumpet, Holman followed with Forgotten Virtues. This original work was in the style of a rock ballad with hints of a Latin feel. Holman moved quickly to his final work, I Mean You. This arrangement featured a New Orleans back beat with a swing bridge. The ensemble was not always together, and this piece was not as satisfying as previous works. After an uneven start, Holman and drummer Fred Hayes Òtraded foursÓ and the set was brought to an enthusiastic conclusion.
James Davis
Repertoire: Groove – Jeff Holmes, You Go to My Head – Haven Gillespie & J. Fred Coots, Fair Enough – James Davis, Jitterbug Waltz – Fats Waller
Davis also chose to begin his set with Jeff Holmes' Groove, but in a slower ÒgrooveÓ than the previous two soloists. It seemed to take a while for the piece to settle down. Davis had some interesting lines but occasionally had difficulty connecting his ideas. This rendition had more rhythmic variation, allowing Fred Hayes to add in his own licks. You Go to My Head began as a ballad, shifted into a funk feel, then to an easy swing and back again. Davis showed great innovation in his approach to this work. I sensed a missed opportunity toward the end when Davis seemed to want Holmes to enter into an exchange, but Holmes backed off. Switching to flugelhorn, Davis next played an original work entitled Fair Enough. This piece was in a Latin feel in seven. There were some intonation problems and the combo at times seemed uncomfortable with this piece, gaining tempo throughout. Still, this was a very listenable work. Davis concluded his set with Fats Waller's Jitterbug Waltz, perhaps an unlikely choice for a jazz trumpet competition. However, it was played in a samba groove that was an unexpected pleasure. Once again, the combo was not always Òtight,Ó but the piece found itself by the middle providing an excellent conclusion to the set. DavisÕ performance might not have been as strong technically as others, but he explored rhythmic variations and "extended himself" more so than other performers. The audience appreciated his innovative approach.
Tobias Kaemmerer
Repertoire: You Don't Know What Love Is – Don Raye & Gene DePaul / Tobias Kaemmerer, Center Street Drift – Tobias Kaemmerer, LaRue – Clifford Brown, Groove Jeff Holmes
Kaemmerer opened with You Don't Know What Love Is. He had a focused, pure sound, but experienced some response problems at the end of his opening cadenza. He then took a long time to count off the chart itself, which moved into an up-tempo Latin feel. Kaemmerer shook off what may have been a brief bout of nerves and reasserted himself into the conversation. A very positive energy was present, perhaps in part because of the 20-minute break that the rhythm section enjoyed before Kaemmerer's set began. For his next work Kaemmerer chose an original composition, Center Street Drift. In an up-tempo swing style, there were problems once again with his response. This was easily forgiven considering the high energy of the ensemble. Clifford Brown's LaRue followed. There were some intonation problems and Kaemmerer's sound began to get a bit fuzzy at times. His performance of this piece was a bit uneven, lacking direction at times. The set ended with Groove in a medium swing style. Kaemmerer was able to put his own slant on this now familiar work.
Charles Porter
Repertoire: Byouba – Jeff Haskell, Groove – Jeff Holmes, Periwinkle's Mood – Charles Porter, The Road Not Taken – Charles Porter
Porter, the final performer of the competition, introduced his own works. He began with Jeff Haskell's Byouba as an up-tempo swing. This was an exciting opening to his set. Porter combined technical versatility with interesting ideas. He really put it out there! When introducing Groove, Porter told the audience he knew they'd "heard this one before." At the slowest tempo of the afternoon, his rendition had a bit of A Little Minor Booze feel. He also showed his sense of humor with a quick quote of It DonÕt Mean a Thing if it Ain't Got That Swing. The final two pieces were original compositions. Periwinkle's Mood was a beautiful ballad and was followed by The Road Not Taken in a Latin feel. This work was suggestive of Pat Metheny's writing. Porter did a great deal of cueing, asking for more from the drummer at times. An interesting trade-off between Porter and pianist Holmes occurred as the piece ended. Porter demonstrated solid playing throughout. He showed a wide vocabulary of styles and approaches to his works.
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ITG Leaders in attendance: L – R: Kevin Eisensmith, Dixie Burress , Jeffrey Piper, Patrick Harbison, Vincent DiMartino, William Pfund
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The Gala Concert
The evening's Gala Concert was held in Centennial Hall and featured the Tucson Jazz Orchestra (Jeffrey Haskell, director) with solo performances by each of the distinguished judges and the competition finalists. A modest crowd filed into Centennial Hall, the 2,400-seat concert hall that is used for all major events hosted by the University of Arizona.
The concert began with the Tucson Jazz Orchestra performing a Nelson Riddle arrangement of Hooray for Hollywood. The Tucson Jazz Orchestra is a disciplined, tight ensemble; this up-tempo work, featuring tenor sax player Gary Love, was a great opener. Haskell, a man of few words, introduced Ambrose Akinmusire as the evening's first trumpet soloist. Akinmusire performed Mike Tomaro's arrangement of Lush Life. Akinmusire's beautiful, dark tone found a perfect home in this Billy Strayhorn classic. Akinmusire created soaring ideas in the double-time section, and played at a whisper at the end of the piece.
Vince DiMartino was next onstage, performing Aim for the Heart by Bill Armstrong and Sy Johnson's arrangement of Blue Bossa. It is always a treat to hear Vince perform, and this concert proved no exception. His effortless solo breaks, brilliant sound, and on-stage antics left the audience wanting more. James Davis was featured on Full Circle, written by Raphael Crawford. Also featured were David Puccio on tenor sax, and Jeff Holmes on piano. Despite having performed all afternoon, Holmes continued to impress the audience with his varied and interesting solos.
Pat Harbison performed Steve Allee's Pure Spirit, a jazz waltz that featured exciting rising and falling lines in the band. Harbison enthusiastically spurred the ensemble to great and greater heights, interjecting his ideas with his distinctive, clear sound. Harbison introduced the next work, a Vaughan Wiester arrangement of All the Things You Are, as being "just the way [he'd] want to play it with a combo, but [he gets] to do it with a big band" instead. Matthew Holman played his own chart, Sergeant Kelso. A Samba, this work featured Gary Love on tenor sax, Jeff Holmes on piano, and Fred Hayes on drums.
Following intermission, Jeff Holmes, who spent the afternoon playing piano, was featured next, but as a trumpeter. Those who attended the 2007 ITG Conference in Amherst, Massachusetts, were already aware of Holmes' versatility. He performed two original works, Sweets, in a Dixieland style, and Of One's Own, a contemporary Latin work in 5. This piece also featured the fine lead trumpet playing of Jason Carder. Tobias Kaemmerer performed next, selecting a Maria Schneider arrangement of My Ideal.
Byron Stripling entered the stage without introduction, and launched into an extended solo that led to a trumpet and piano-only rendition of I Can't Get Started. Jeff Haskell provided the piano accompaniment. Stripling then provided the evening's comic relief by telling people that he was Wynton Marsalis! Even Wynton might not be able to match Stripling's vocal ability on Saint James Infirmary, which followed. The audience showed their appreciation with the biggest ovation of the evening. Charles Porter was the last soloist of the evening, performing an original work entitled Brownie. In this beautiful ballad Porter showed great promise as both a trumpeter and a composer.
All five competitors returned to the stage and were featured on Jeffrey Haskell's Byouba, arranged especially for the competition by Jeff Holmes. This was a rare opportunity to hear their varied approach to sound production and to improvising. ITG President Bill Pfund then announced the winners and presented the monetary awards. All five competitors received travel expenses for their trip to Tucson. Matthew Holman was announced as the second place recipient, and received a check for $5,000. Following the customary drum roll, Ambrose Akinmusire was announced as the competition winner, and received hearty congratulations and a $10,000 check.
The final work of the evening featured nine trumpet players. Arranged in three groups of 3 (Haskell claimed to have used a calculator to determine the final number of soloists!), the five competitors, three judges, and Jeff Holmes, along with the Tucson Jazz Orchestra, performed The Miraculous Polar Bear Adventure, composed by Kim Scharnberg (www.kimscharnberg.com) especially for this concert. This chart "had it all," with elements of Chuck Mangione, Bill Chase, and even a riff from Chick Corea's Spain. A standing ovation from the audience and hugs all around on stage brought the exciting day to a fitting end.
Final Thoughts
Congratulations and thanks to Ed Reid and Jeff Haskell for a well run, exciting competition!
The worst part of the weekend for me was a five-hour delay in Dallas on my way home. Otherwise, I look forward to the 2009 Caruso Competition, which will be hosted by James Ackley at the University of South Carolina. The proposed dates are November 8 & 9, 2009. Make plans to attend!
Acknowledgements
Competition Chairs: Vincent DiMartino and Laurie Frink
Competition Sponsors: The International Trumpet Guild with generous support from the Herb Alpert Foundation. Additional support from the University of Arizona School of Music, UA Presents, and the Tucson Jazz Society
Competition Hosts: Ed Reid and Jeffrey Haskell
Photography: Vincent DiMartino, Kevin Eisensmith, and Jeffrey Piper
About the author: Kevin Eisensmith is professor of trumpet at Indiana University of Pennsylvania, where he also directs the jazz ensemble and trumpet ensemble. He is the Vice President/President Elect of the International Trumpet Guild and a frequent contributor to the ITG Journal.
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