2015 Carmine Caruso International Jazz Trumpet Solo Competition
The 2015 Carmine Caruso International Jazz Trumpet Solo Competition was held on the campus of Sam Houston State University in Huntsville, Texas on Saturday, September 19, 2015. First held in 1993, and co-sponsored by the International Trumpet Guild and the Herb Alpert Foundation, this bi-annual competition is considered the world’s most prestigious for jazz trumpeters. The winner of the competition receives $10,000, and the runner-up receives $5,000. The co-hosts for this year’s competition were Amanda Pepping, Aric Schneller and Randal Adams.
Carmine Caruso was one the world’s greatest brass teachers. It is to the man and his work that this competition is dedicated. Caruso was born on November 2, 1904, and 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.
This year, the five finalist selected were Hermon Mehari (Kansas City, Missouri), John Shpak (Boston, Massachusetts), Aidan Lombard (Miami, Florida), Max Goldschmid (Tucson, Arizona) and Zubin Edalji (Boston, Massachusetts). Each finalist selected three pieces for their performance. A fourth composition, to be performed by all finalists was Mike Crotty’s A Conversation with the Wind. Each contestant received this work at his rehearsal with the Competition Trio on the day before the competition.
The schedule for the 2015 Competition included a 10am Carmine Caruso masterclass with Ingrid Jensen, 1pm competition finals, and a 7:30pm gala concert and awards ceremony featuring Clay Jenkins, Ingrid Jensen, and Bobby Shew, the Caruso Competition finalists and rhythm section, and the Sam Houston All Star Big Band.
**To see the whole photo gallery of the event, visit www.zenfolio.com/internationaltrumpetguildphotography. Photos were taken by ITG photographer Michael Anderson.**
THE JUDGES
Clay Jenkins
Clay Jenkins' career as a jazz artist has covered a wide range of musical experiences and responsibilities, bringing him to the forefront of the jazz performing and teaching arenas. Clay's experience as a performer began at an early age playing with the Stan Kenton Orchestra. Clay moved to Los Angeles in 1978, where he was in demand as both a live performer and studio-recording musician. From Los Angeles, he toured with the big bands of Harry James, Buddy Rich, and finally, the Count Basie Orchestra. Since moving to Rochester, NY, to become Professor of Jazz Trumpet at the Eastman School of Music in 2000, Clay has maintained a busy performing, recording, and teaching schedule. Clay has released eight solo recordings. Additionally, his ensemble with co-leader Kim Richmond has released three recordings and "Trio East" has two releases entitled Stop Start and Best Bets. His most recent recording projects include a partnership with saxophonist Don Aliquo entitled "New Ties and Binds" (with Harold Danko, Rufus Reid, and Jim White) and a recent trio recording with guitarist Gene Bertoncini and bassist Ike Sturm entitled Joy. Clay is a performing artist/clinician for the Edwards Instrument Company, Elkhorn, Wisconsin.
Ingrid Jensen
From her early days playing in the subways of New York, to establishing herself as a leader and soloist in a wide array of musical genres, Ingrid has made her mark. Her three CD's for the ENJA label and her latest CD, At Sea, won her nominations from the Canadian Juno Awards, including an award in 1995 for Vernal Fields. Some of the many musicians she has performed and or recorded with include; Steve Wilson, Jeff 'Tain' Watts, Dr. Lonnie Smith, Marc Copland, Bob Berg, Gary Thomas, Gary Bartz, Jeff Hamilton, Bill Stewart, Terri-Lynn Carrington, Geri Allen, Geoffrey Keezer, Billy Hart, George Garzone, Chris Connor, Victor Lewis, Clark Terry, Frank Wess, Badal Roy, Mike Clark, Jason Miles and Global Noize, Dr. Billy Taylor and the DIVA Big Band. Ingrid was a featured soloist with singer Madelaine Peyroux as part of the Tribute to Billy Holiday project in Brazil which included bass legend Ron Carter and piano virtuoso, Mulgrew Miller. Currently, she is an artist-in-residence on the trumpet faculty at the University of Michigan in Ann Arbor. Jensen continues to fill her schedule with an astonishing array of artistic creativity as a performer and Educator.
Bobby Shew
Bobby Shew has the rare dual ability not only to play lead in big bands, but also to star as a soloist in combos. He worked with Woody Herman (1965), Buddy Rich (1966-1967), and then for a long stretch in Las Vegas show bands. In 1973, Shew settled in Los Angeles and worked in the studios, but found time to play jazz, most notably with the Toshiko Akiyoshi-Lew Tabackin big band. Louie Bellson used him on many occasions over the past several decades, and Shew was often in demand for big band work with Buddy Rich, Don Menza, and the Capp/Pierce Juggernaut. Today, in addition to a busy performing and private teaching schedule, Bobby spends a considerable amount of time actively involved in the educational system, conducting clinics and master classes at high schools and college campuses all over the world. He authors numerous articles of educational interest in various trade magazines, all translated into several languages for worldwide distribution. He has even had a few minor acting roles in movies and TV shows. He continues to tour internationally and to produce and record excellent music. He has released several recent albums for the MAMA Foundation including Playing With Fire (with Tom Harrell), Heavyweights (with Carl Fontana), and Salsa Caliente.
THE FINALISTS
Zubin Edalji began his music study as a small child on violin and piano. He began playing the trumpet in grade school, selecting it for its visual presence and warm sound. He was exposed to Jazz music through his first trumpet teacher, Gary Slavo, a veteran of the Stan Kenton Orchestra. He has performed at well-known venues like the Blue Note (New York), the Jazz Gallery (New York), the Jazz Showcase (Chicago), and the Blue Frog (Mumbai). He has also performed at international festivals like the Sienna Jazz Festival, the Matera Jazz Festival, and the Elba Jazz Festival. As a composer, Zubin enjoys writing music for any and all settings, especially small jazz groups, big bands, and film projects. He has studied with and been mentored by some of the finest musicians in the world, like Tito Carrillo, Kenny Werner, Jim Pugh, Dana Hall, Laurie Frink, Brian Lynch, Chip Stephens, Joel Spencer, Erik Lund, Stephen Taylor, and Chip McNeill. A graduate of the University of Illinois at Urbana-Champaign (Doctor of Musical Arts in Jazz Performance and Composition), and New York University (Master of Music in Jazz Studies), Zubin is an active Jazz educator.
Max Goldschmid, 21, is a multi-instrumentalist from Tucson, Arizona. Since 2006, Max has participated extensively with the Tucson Jazz Institute and the University of Arizona Studio Jazz Ensemble. He has performed at festivals overseas and a variety of other venues in Tucson and Phoenix, shared stages with the likes of Brice Winston, Jason Carder, Wycliffe Gordon, and Byron Stripling, and had his compositions performed by members of the Tucson Symphony Orchestra. He has performed at festivals overseas and a variety of other venues in Tucson and Phoenix, shared stages with the likes of Brice Winston, Jason Carder, Wycliffe Gordon, and Byron Stripling, and had his compositions performed by members of the Tucson Symphony Orchestra. He studied with Jeff Haskell and Ed Reid for two years at the University of Arizona and during that time attended the 2013 Carmine Caruso Competition. Max is proficient at saxophone, trombone, and trumpet, and can make it through a gig on piano, bass, clarinet and bass clarinet.
Twenty-year-old Aidan Lombard was born in Washington DC and grew up in the suburbs of Chicago. He is a jazz performance student at the University of Miami, Frost School of Music, and a member of the Stamps Jazz Quintet, a four-year, merit-based full scholarship position. He currently studies with Brian Lynch, an alumnus of Art Blakey and Horace Silver's legendary bands. This past year, Aidan was the youngest of only 12 semifinalists in the Prestigious 2014 Thelonious Monk International Jazz Competition. In 2012, he was one of two trumpeters to participate in the Vail Jazz Workshop, where he studied with Terrell Stafford and performed at the Vail Jazz Festival. He held the Solo Jazz Chair in the Grammy Jazz Orchestra in 2013 where he attended the Grammy awards and played at the official Grammy after party. In addition, he played in the 2013 Jazz Band of America. Aidan also attended the 2014 Banff International Workshop in Jazz & Creative Music, where the trumpet faculty included Nicholas Payton and Ambrose Akinmusire. He has performed with Chick Corea, Stanely Clarke, Terence Blanchard, Christian McBride, Brian Lynch, John Fedchock, Wycliffe Gordon, Lage Lund, Ndugu Chancelor, Arturo Sandoval and many more.
Hermon Mehari was named a semifinalist in the 2014 Thelonious Monk Jazz Competition. In 2014 he released the CD "Our Journey" with Diverse, which was recorded in Paris featuring Logan Richardson on alto saxophone. He was the headliner of the 2014 Jazz en Tête Festival in Clermont-Ferrand, France and was featured on the world-renowned saxophonist Bobby Watson's 2013 release, "Check Cashing Day". This album explores and honors the 50th anniversary of the March on Washington and Dr. Martin Luther King Jr.'s "I Have A Dream Speech". Mehari was the winner of the 2008 National Trumpet Competiton and placed 2nd in the International Trumpet Guild competition in Sydney, Australia. As a founding member of Diverse, whose eponymous debut album on Seattle-based Origin Records reached the Top 40 on the Jazzweek Radio Charts, Hermon has performed professionally with noted saxophonists Jaleel Shaw, Logan Richardson, Bobby Watson, and Ben Van Gelder. Hermon received his BM in Jazz Performance from the University of Missouri - Kansas City Conservatory of Music and Dance in 2010. In addition to performing, he dedicates himself to being a serious educator. Hermon has participated in clinics and panels around the country and has served as the director of the Kansas City High School All Star Jazz Ensemble.
22 year-old trumpeter, composer & bandleader, Josh Shpak, demonstrates a wide stylistic palette, evident of influences from classic jazz to electronica. Josh is currently a member of Boston-based rock/funk/dance-pop band, Ripe, acoustic world-jazz ensemble, The Affinity Quartet, the Mario Castro Quintet and numerous other projects. He also performs with his own group, the Josh Shpak Band, a cutting-edge modern jazz outfit that incorporates the sounds of rock, electronic, and film music with jazz. The band’s debut EP, “ASTATIC”, was released in late-summer 2015. A protégé of the late-great jazz icon Clark Terry, Josh Shpak is dually driven by an immense respect for the past, and a desire to put his own mark on the future. Among his numerous awards and accolades are being 1 of the 4 trumpet finalists for the 2012 and 2014 Thelonious Monk Institute of Jazz, receiving the 2014 ASCAP Herb Alpert Young Jazz Composer Award, competing as a jazz finalist for the 2014 National Trumpet Competition, and being a 2014 Downbeat Magazine Student Award Winner for Small Ensemble Original Composition for his piece, "LET GO".
THE COMBO
Lynn Seaton has been a faculty member at the College Conservatory of Music in Cincinnati, Long Island University, State University of New York at New Paltz, William Patterson College, and is currently teaching at the University of North Texas. During September of 1984, Lynn joined Woody Herman and the Young Thundering Herd. July of 1985 brought him a position with the Count Basie Orchestra. During this time he moved to New York City (1986) where he resided until 1998. After his two-year engagement with the Basie Band, he did an extended tour with Tony Bennett and a six-month tour with George Shearing. Lynn has worked alongside many outstanding musicians, including: Toshiko Akiyoshi, Ernestine Anderson, Buck Clayton, Al Cohn, Kenny Drew Jr., Blossom Dearie, Bob Dorough, Harry “Sweets” Edison, Herb Ellis, John Fedchock, Frank Foster, Freddy Green, Tim Hagans, Jeff Hamilton, Scott Hamilton, Wynard Harper, Thad Jones, Mel Lewis, Marian McPartland, Jay McShann, Mark Murphy, Ken Peplowski, Bucky Pizzarelli, Jimmy Raney, Emily Remler, Diane Schuur, Maria Schneider, Bud Shank, Carol Sloane, Marvin “Smitty” Smith, Maxine Sullivan, Mel Torme, Frank Wess, Joe Willliams, Nancy Wilson, Steve Wilson, Mark Vinci and Teddy Wilson. Lynn is a member of the Oklahoma Jazz Hall of Fame and winner of the Sammons Jazz Artist of the Year.
Ed Soph is a Professor in the Jazz Studies and Performance Divisions of the College of Music at the University of North Texas. He teaches applied drum set students and the Rhythm Section Master Class. His touring and recording work includes the groups of Stan Kenton, Bill Watrous, Woody Herman, Clark Terry, Joe Henderson, Marvin Stamm, Dave Liebman, Stefan Karlsson, Fred Hamilton, and Eddie Gomez. He is the author of a video a DVD, Musical Time. His books include The Big Band Primer, Essential Techniques for Drum Set, and Musical Time. Ed is an artist clinician for the Yamaha Corporation of America, the Avedis Zildjian Company, Evans drum heads, and Innovative Percussion drum sticks and mallets.
Stefan Karlsson, a native of Sweden, was born into a musical family. His father played piano professionally and inspired his interest in piano and jazz. He also began church organ lessons at 13 and continued to study the instrument into his college years. Following his graduation from high school, the pianist came to the United States on a scholarship to study at the University of North Texas, where he earned both a bachelor's and a master's degree. He was also a member of the university's acclaimed One O'Clock Lab Band for three years, touring nationally and internationally with the ensemble and participating in five of their recordings. Karlsson made his recording debut during a 1985 return trip to his homeland, appearing with Rich Matteson and Red Mitchell on their Four Leaf Clover CD Life's a Take. In 1990, Karlsson made his first date as a leader for Justice, following it with two more successful dates for the label, also appearing on three Justice CDs by drummer Sebastian Whittaker. He recorded a live CD for Vartran Jazz (joined by the late Bill Evans' former rhythm section, bassist Eddie Gomez and drummer Eliot Zigmund).
THE CLINIC
Since winning the 1991 Caruso Competition, Ingrid Jensen has been a frequent Artist/Judge at the event. Although she did not study with Carmine Caruso himself, her work with Laurie Frink make her uniquely qualified to present on his brass playing concepts. She began her clinic by describing a number of physical challenges that adversely affected her playing. She also made it very clear that Caruso’s concepts are often misunderstood, and added that Laurie Frink’s philosophy was that these ideas were not really to be learned by reading a book, but rather experienced.
Jensen included the audience in some exercises to achieve a more natural state, in terms of posture, balance, and freedom from tension. She emphasized that unless the body is in a condition to be receptive, it is impossible to communicate a musical message efficiently and at a high level through the instrument.
She explained that another important factor in Caruso’s teaching is develop internal time in order to synchronize all the moving parts involved in the process. This included some playing examples that include emphasizing subdivisions through singing, through the airstream, etc. All of these were done without instruments, and should be practiced prior to the addition of the horn.
She went on to describe that many of the poor physical habits that are developed in our playing, come from deficiencies in our musicality, i.e. hearing intervals, understanding rhythms, etc. In other words, having doubt about what we are playing, causes hesitation and collaterally, poor physical habits.
Jensen briefly discussed some of the sources/techniques that have helped her, including Alexander Technique http://www.alexandertechnique.com and Feldenkrais http://www.feldenkrais.com .
Her clinic was packed with great information, including a number of concise ideas that she had collected from her time studying with Laurie Frink. She also recommended the Carmine Caruso Tribute site http://www.carminecaruso.net as a source of good information from Caruso students. What an enlightening morning for everyone in attendance!
THE COMPETITION
The Carmine Caruso competition was held in the stunning 800-seat concert hall of the James and Nancy Gaertner Performing Arts Center, beginning with greetings by Competition Co-Host Amanda Pepping. Each contestant performed four works with the Competition Trio, including the required work, Mike Crotty’s Conversations with the Wind.
Hermon Mehari
The first finalist to perform was Hermon Mehari, beginning his set with You Stepped Out of a Dream by Herb Brown. Mehari’s playing created an immediate impression, exhibiting a clarity in sound and articulation that made for a convincing performance. His second selection was the required new work, A Conversation with the Wind, by Mike Crotty. This somewhat angular composition highlighted Meharis’s ability to balance lyricism with a somewhat disjunct rhythmic line. For his third tune, Mehari performed the silky ballad, Frederick Loewe’s I’ve Grown Accustomed to Your Face. After yielding to bassist Lynn Seaton for a chorus, Mehari’s tasteful playing culminated in a well-conceived, quasi-cadenza without the trio, full of cleverly placed quotes to end the tune. Mehari closed with a brisk, hard-driving rendition of Benny Golson’s Stablemates. Mehari displayed technical prowess and rhythmic interplay with the trio as the tune developed, making this a really engaging performance.
Josh Shpak
Josh Shpak took the stage and played without the trio to begin performing his first tune The Backwards Step by Nick Payton. Schpak escalated the intensity quickly, exploring the full range of the instrument. Some slightly uneasy rhythmic moments in the ensemble briefly interrupted the energy, but refocused for a strong conclusion. Second, Schpak performed the angular A Conversation with the Wind by Mike Crotty. After introducing the tune in a somewhat contemplative fashion, Schpak moved with the trio into a driving swing conversation until again calmly revisiting the head. Moving to flugelhorn, Horace Silver’s Peace was Schpak’s third selection, which began with a free introduction in the bass. His soloing that followed was some of Shpak’s most impressive playing in terms of interacting with the trio, as well as finding a comfortable sound and balance. Freddie Hubbard’s Birdlike closed Schpak’s set with a brisk be-bop, back and forth conversation with the trio to begin the tune. Schpak aptly captured a Freddie Hubbard musical vibe and characteristic style in this performance.
Aidan Lombard
The third finalist of the day, Aidan Lombard, started his set with Bud Powell’s hard-swinging Celia. Lombard’s high-energy style and even lines throughout his range were an impressive way to begin this tune. Mike Crotty’s A Conversation with the Wind was Lombard’s next selection. A somewhat softened approach to this tune in terms of rhythm and articulation, gave way to a more forceful approach to sound production during his solo choruses. A creative, free cadenza began Thelonious Monk’s Reflections before having the trio join for the head in an easy swing feel. Lombard then cleverly transitioned into his final tune, Herbie Hancock’s Eye of the Hurricane, with another free soliloquy. His energetic playing, in a be-bop style again showed off Lombard’s range and facility, bringing his set to an impressive close.
Max Goldschmid
John Coltrane’s Moment’s Notice was contestant Max Goldschmid’s choice to begin his set. Goldschmid wasted no time in creating intensity with his powerful clear sound and precise execution of lines. Next was an interesting rendition of Jerome Kern’s All the Things You Are, featuring a shifting meter feel throughout. Goldshmid’s soloing continued in a linear, somewhat powerful style. A Conversations with The Wind by Mike Crotty, provided some appreciated, if only minor contrast in style and intensity for the set. For his final tune, Goldschmid performed the Clifflord Brown/Max Roach composition, Delilah. The energy quickly escalated again after the tune was played, although this time the trio provided some nice textural contrasts. Goldschmid’s displayed great technical command of instrument.
Zubin Edalji
The final contestant of the day, Zubin Edalji began his set with Bill Evans’ Turn Out The Stars. John Coltrane’s Moments Notice provided an opportunity to begin his second tune in an interesting rhythmic, melodically fragmented style. Within his solo, Edalji displayed nice seamlessness to his lines as well an overall better sense of ensemble. Next was Duke Pearson’s beautiful ballad You Know I Care. The playing here seemed to be more comfortable, both musically and from a physical aspect. For his last selection Edalji chose to approach A Conversation with the Wind by Mike Crotty with less emphasis on the angularity that seems to best capture the character of this piece.
THE GALA CONCERT
The evening’s Gala Concert was again held in the Concert Hall of Gaertner Performing Arts Center. Amanda Pepping, competition co-host, and Ronald Shields, Dean of the SHSU College of Fine Arts & Mass Communications provided greetings and opening comments.
The Sam Houston All Start Big Band, under the direction of competition co-host Aric Scneller, opened the concert with a hard-swinging arrangement of the Howard Dietz’s composition Alone Together by Rich DeRosa, who also served as the band’s drummer. Lead alto saxophonist Drew Zaremba shined as featured soloist on the opener.
Hermon Mehari was the first soloist of the evening, playing Frederick Loewe’s I’ve Grown Accustomed to Your Face. Mehari again began the tune alone, showcasing his beautiful sound, before the trio joined him for another memorable performance. Bobby Shew then took the stage to perform Bert Joris’ Magic Box. As always, Shew’s playing was a reminder of the artistic and technical mastery he brings to every performance. Next was finalist Max Goldschmid performing the Max Roach/Clifford Brown tune Delilah. In much the same manner, as his performance in the competition, Goldschmid chose a high-energy, hard-driving approach allowing him to stand out as the solo voice of the ensemble.
The second artist of the night, Clay Jenkins, selected the funky Work First, one of his own compositions arranged by Mark Taylor. In addition to Jenkins’ commanding artistry, trombonist Andre Hayward and drummer Rich DeRosa were featured. Jenkins and Mike Wheeler masterfully executed intricate unison lines with the trumpet and guitar on the tune. Finalist Aidan Lombard then began Reflection by Thelonius Monk with an aggressive extended solo cadenza before bringing in the trio. Lombard had great presence in the ensemble throughout, providing an interesting and powerful spin on a somewhat serene tune.
To close the first half of the concert, artist and judge Ingrid Jensen performed Vernal Suite, a composition by her sister Christine. The tune also featured pianist Pamela York and tenor saxophonist Warren Sneed. Jensen’s sound is seamless, and her imaginative and unpredictable soloing made this performance one of the highlights of the evening.
After intermission, the final two competition finalists returned to perform a selection from their competition set. Zubin Edalji selected Bill Evans’ Turn Out The Stars. Edalji’s easy sound, tasteful playing and attention to ensemble made his performance particularly enjoyable. Josh Shpak then took advantage of the Nick Payton’s high-energy The Backward Step. Shpak clearly enjoys the opportunity to showcase his extensive technical abilities.
Before the presentation of the winners, all three artist took the stage and were joined by trumpeter Dennis Dotson to be featured on saxophonist and big band member Drew Zaremba’s fantastic arrangement of Clark Terry’s Mumbles. All four soloists shined, bringing out their unique, impressive styles in what was a fitting tribute to the recently passed trumpet legend.
ITG president Alan Siebert, Secretary John Irish, Host Amanda Pepping and Caruso committee chair Grant Peters then entered the stage to announce the winners of the 2015 Carmine Caruso International Jazz Trumpet Solo Competition. Josh Shpak was announced as the second place recipient and received a check for $5,000 from President Siebert. Hermon Mehari was named the winner of the competition and received hearty congratulations and a $10,000 check.
In what has become tradition at the Caruso Competition, the five finalists remained on stage with the artists for a grand finale trumpet blow-out on Mark Taylor’s arrangement of Mercer Ellington’s Things Ain’t What They Used To Be. This was clearly a crowd favorite among the 200-300 audience members in attendance, having the opportunity to hear every performer one last time together. Kudos to the Sam Houston All Star Big Band and Aric Schneller for his work in putting this incredible ensemble together! 
FINAL THOUGHTS
Congratulations and thanks to hosts Amanda Pepping, Aric Scneller and Randal Adams for a well run, exciting competition. Thanks also to ITG President Alan Siebert, Secretary John Irish for their participation. Special thanks must go to the Herb Alpert Foundation for their continued support of the Carmine Caruso International Jazz Trumpet Solo Competition. The site for the 2017 Caruso Competition has yet to be determined. Individuals interested in hosting this prestigious event should contact Alan Siebert at [email protected].
Source: Grant Peters, professor of music at Missouri State University, Springfield, Missouri, ITG Board of Directors, chair of the Carmine Caruso International Jazz Solo Trumpet Competition
Photo credits: Michael Anderson, professor of music, Oklahoma City University, ITG Website, Oklahoma City, Oklahoma