The Carmine Caruso International Jazz Trumpet Solo Competition

ITG logoSponsored by the International Trumpet Guild in cooperation with the Herb Alpert Foundation
Herb Alpert Foundation logo
Additional Sponsorship by Lotus Trumpets
Lotus Trumpets logo

Carmine Caruso Competition poster

 

The world’s most prestigious competition for jazz trumpeters comes to Denton and the University of North Texas.

Carmine Caruso was one of the world's greatest brass teachers. It is to this man and his work that the 2025 Carmine Caruso International Jazz Trumpet Solo Competition is dedicated. All of Saturday's events are open to the public and will be held at the UNT College of Music, Paul Voertman Concert Hall, in Denton, Texas on October 25th, 2025.

$10,000 First Prize | $5,000 Second Prize

 

About Carmine Caruso

About ITG Competitions

 

 

Host: Philip Dizack

Philip DizackPhilip Dizack

Assistant Professor of Jazz Trumpet - Improvisation Emphasis | Philip.Dizack@unt.edu

Philip Dizack, one of the most important jazz trumpeters of his generation, is emerging as an integral player of the worldwide jazz scene, fulfilling DownBeat magazine's 2007 proclamation “[one of twenty-five] Trumpet Players for the Future.” 

In 2019, Dizack joined Israeli-born pianist Shai Maestro's newly expanded quartet. The band's subsequent album, Human, released in January of 2021 on ECM, was produced under the watchful eye (and ears) of ECM founder, Manfred Eicher. The critic response was overwhelmingly positive, garnishing over 60 glowing reviews in more than a dozen countries.

Philip was also a featured soloist on the 2021 recording Assembly of Shadows which received two Grammy© nominations for Best Instrumental Composition and Best Instrumental Arrangement. Later that year, Philip taught at the Siena Summer Jazz Workshop in Siena, Italy. 

In his late teens and early twenties, Dizack was mentored in the tradition through his time performing, touring and recording with Jazz Messenger Bobby Watson and 8-time Grammy©  winner, Latin Jazz legend, Eddie Palmieri. He has since performed and recorded alongside an extremely wide array of musicians unencumbered by generation or genre - in clubs, concert halls, arenas, stadiums, and on television & films, in over 25 countries. A truncated list of artists includes Shai Maestro, Wycliffe Gordon, Thundercat, The Nicholas Payton Television Studio Orchestra, The Village Vanguard Orchestra, Immanuel Wilkins, Kamasi Washington, Aaron Parks, Ben Wendel, Melissa Aldana, Greg Tardy, Myron Walden, Jon Batiste, Morrissey, Foreigner, Robert Redford and many more.

A native of Milwaukee, Wisconsin, Dizack moved to New York City in 2003 where he attended the Manhattan School of Music. As a member of the NFAA Stan Getz/Clifford Brown Fellowship All-Stars (now ‘YoungArts’), Dizack toured the United States, Canada, and Japan. In 2004, he was named third place winner of the International Trumpet Guild Jazz Competition, winner of the John Coltrane Scholarship, first place winner of the National Trumpet Competition in 2005 and competed in the Monk Competition in 2007 and 2014. Dizack was also the youngest-ever winner of the Carmine Caruso Competition in 2005.

In 2019, alongside touring and performing, Philip was appointed assistant professor of jazz trumpet and coordinator of the jazz chamber music program at the University of North Texas in 2019.

Philip Dizack has released 3 solo albums and has been featured on over 35 albums as a supporting member.

Venue: UNT College of Music

The Competition will be held in Paul Voertman Concert Hall at the University of North Texas, College of Music. Recently renovated, Paul Voertman Concert Hall seats 380 persons and is wheelchair accessible.

Schedule of Events

Friday, October 24

  • All day  Closed Door Rehearsals with Caruso Competition Finalists
  • 9:00am - 7:00pm  Lotus Trumpets - Exhibit Room MU262

Saturday, October 25

  • 9:00am - 10:45am Caruso Clinic with Julie Landsman
  • 11:00am - 12:45pm Guest Artist Clinic with Nicholas Payton, Ingrid Jensen & Terell Stafford
  • 1:00pm - 2:45pm Lunch Break
  • 3:00pm - 4:00pm Vendor Presentation – Lotus Trumpet

Competition Begins

  • 4:15pm - 4:45pm Finalist #1 Finals
  • 4:45pm - 5:15pm Finalist #2 Finals
  • 5:15pm - 5:45pm Finalist #3 Finals
  • 5:45pm - 6:15pm Finalist #4 Finals
  • 6:15pm - 6:45pm Finalist #5 Finals
  • 6:45pm - 8:00pm Dinner Break 
  • 8:00pm – 10:00pm Gala Concert Featuring the Finalists and Guest Artists with the One O’Clock Lab Band
Competition Rules and Application

Rules and Guidelines Competition Rules and Guidelines

1. The 2025 competition is open to all trumpet performers born after October 24, 1995 provided that they are not currently under major artist management.

2. The online application will be available beginning March 1, 2025 and will close on June 1, 2025. Complete the online application at the following link: www.trumpetguild.org/events/competitions.
On the ITG Competitions website, you must complete the following and submit the following documents:

      1. Complete the online registration form.
      2. Upload unedited recordings of the required repertoire (see Rule 4) with a live rhythm section. Maximum 25 minutes in length. Recordings must be uploaded in an .MP3 format only. You will be required to submit all selections as one continuous .MP3 file, but you do NOT need to play them all in one continuous take. You make select your favorite takes and stitch them together to submit as one file.
      3. Pay a non-refundable application fee of $100.00 U.S. After uploading their recordings, applicants will be taken to a PayPal portal in which they can pay via credit card or PayPal balance. The email used to register for this competition should match the email on the PayPal account used for payment. Payment is required at the time of application.
      4. Copies of lead sheets of your chosen repertoire in PDF format for all selections with accurate chord changes as recorded for the preliminary round should be emailed to Philip.Dizack@unt.edu 
      5. Copy of a document (such as a passport, driver’s license, or birth certificate) in PDF format verifying your date of birth should be emailed to Philip.Dizack@unt.edu
      6. Incomplete or late applications will not be considered. You will be sent acknowledgement of receipt of your materials.
      7. Finalists will be contacted by the competition host and required to provide specific promotional materials. The competition host will provide complete instructions and a deadline for receipt of materials at time of notification.

3. The competition has two stages:

          1. A preliminary recorded round (see Rule 4 Repetoire  and Rule 5 Preliminary Round.)
          2. A final round performed live at the competition site — Paul Voertman Concert Hall at the University of North Texas College of Music – Denton, Texas – on October 25th, 2025. Rehearsals with the competition rhythm section will take place on October 24th, 2025
          3. Prizes:First prize is $10,000.00 USD and second prize is $5,000.00 USD. The judges reserve the right to award no first and/or second prize if they feel that no contestant meets the standards set for this competition. No ties will be awarded. Winnings of US and non-US citizens are applicable to US income tax laws and withholding requirements.

4. Repertoire: Each contestant’s preliminary recording must include four (4) different selections from the following categories:

      1. Selections 1 and 2: Choose two of the following tune styles. (One or both of these selections may be original compositions in these styles.):
        1. Ballad
        2. Swing (Slow, Medium, or Up-tempo)
        3. Latin
        4. Straight-eighth, Funk, Rock, Fusion, or Back beat
        5. Odd Time-signature or Mixed meter in any feel
      2. Selection 3: “A Shade of Jade” by Joe Henderson  If you need to purchase this lead sheet, you can find a copy in the Jamey Aebersold Play-a-Long Series, Joe Henderson Volume 108 V108DS. You can order this through almost any music store and online service.
      3. Selection 4: Contestant’s choice in any style.

5. Preliminary (recorded) round: The preliminary round consists of the submitted mp3 recordings of all selections as listed in Rule 4. The mp3 files should be of the highest quality possible and must be made with a live (not prerecorded) rhythm section. The recordings must be unedited except between selections. Do NOT announce the name of the contestant or the title of the selections on the recording. All recordings will be judged anonymously.

6. Final Round: A maximum of 5 finalists will be chosen to compete in the final round at the Paul Voertman Concert Hall at the University of North Texas College of Music in Denton, Texas.
All finalists will be chosen and notified by July 1, 2025, after which all other applicants will be notified. All finalists will receive a travel expense reimbursement of up to $600.00 USD (US-based finalists) or $1000 USD (non US-based finalists) for a roundtrip economy class flight, will receive three (3) nights hotel lodging near the University of North Texas, and will receive local transportation to and from all competition related events (including to and from the airport where applicable). A professional rhythm section will be provided for each of the finalists to rehearse with in  Lab West at the University of North Texas on October 24th, and to perform their selections with at the final round in the Paul Voertman Concert Hall at the University of North Texas College of Music on October 25th,  Finalists will have a maximum of 1 ½ hours to rehearse with this group. All finalists will perform 3 or 4 selections from the preliminary tape plus a new required selection to be given to the contestant at the rehearsal for a maximum performance time of 25 minutes. These rehearsals are not open to the public. The final round will take place in the form of a concert with each contestant drawing lots to determine his or her order of appearance.

7. All prize winners must agree to allow ITG to release post-competition publicity that may include photos, video, audio, and/or materials from their bios. The first prize winner will be invited to perform as a featured artist at the 2026 ITG Conference.

8. The competition chair is in charge of the competition and may, in case of an emergency or necessity, make decisions or adopt policies that would be beneficial to the operations for the competition. The awards ceremony will occur at the end of the final round concert. The Herb Alpert Foundation and the International Trumpet Guild provide all monetary prizes and operations for the competition.

 

Competition Advisory Committee:

Chair: Douglas A. Jackson

Host: Philip Dizack

ITG President: Ryan Gardner

Questions regarding the competition can be addressed by the competition host: Philip.Dizack@unt.edu

 

Nicholas PaytonNicholas Payton

Guest Artist & Competition Judge

As a leading voice in American popular music, the Grammy Award-winning Nicholas Payton is a multi-instrumentalist, vocalist, composer, producer, arranger, essayist, and social activist who defies musical and artistic categories. All the while, he honors the tradition of what he terms “postmodern New Orleans music,” as well as the spirit of Black American Music, of which he states, “There are no fields, per se. There are lineages.”

The New Orleans-born Payton has followed his calling since growing up under the tutelage of his parents — acclaimed bassist Walter Payton and Maria Payton, a pianist and vocalist. Already a prodigy before entering the first grade, he began playing trumpet at age four and started performing professionally at age 10. Before the age of 20, he was already in demand by everyone from Danny Barker and Clark Terry to Elvin Jones and Marcus Roberts. Payton released his first album, From this Moment, in 1995 on the famed Verve label. He received his first Grammy nomination in 1997 for the album Doc Cheatham & Nicholas Payton, and for the category of Best Instrumental Solo, which found him winning the award that year.

Payton has released over 20 recordings as a leader, pushing musical boundaries and showcasing a variety of contemporary and traditional styles, while displaying his ambidextrous ability to play both the trumpet and keyboard at the same time when he’s inspired to do so. He has collaborated with numerous mentors and contemporaries alike, ranging from Common and Cassandra Wilson to Trey Anastasio, MonoNeon, and Jill Scott, to Dr. John, Joseph “Zigaboo” Modeliste of The Meters, Allen Toussaint, and Abbey Lincoln to name a few. His most recent album is DRIP (italicized), which features Christie Dashiell, Michael Franks, Robert Glasper, and Patrice Rushen.

“Everything I write is about life experiences. The music means nothing without life. A life lived. It’s not just notes on a page. It’s not just a technical exercise. It’s vibrations and energy,” Payton says. “And I’m striving to help lift, if possible, raise the vibration of the collective conscious one audience, one album, one song at a time. If I can’t do that, there’s no point in me playing. That’s why I play. It’s about contributing to society and inspiring. That’s my life as an artist, period. Challenging people to think differently, to think critically and to not be slaves to the system and the status quo.”

In addition to Payton’s work as a performer, he is an equally respected composer, having written The Black American Symphony an orchestral work, which the Czech National Symphony Orchestra commissioned and performed. He led a live concert performance of Miles Davis’ renowned Sketches of Spain with the Basel Symphony Orchestra in Switzerland. “Pretty much all the music that I play is centered in Black culture, Black music. And that’s why I’ve eschewed jazz and came up with the terminology, Black American Music, because I want to be connected to the whole of it,” Payton says about genre. “It’s all the same. John Coltrane and Charlie Parker and James Brown could be neighbors. So what’s the distinction there? The only difference in the music is who they came through, and where they’re from.”

As a leader, Payton’s seminal writings and discussions on the problematics of the term and associations of “jazz” have inspired musicians, researchers, music listeners, and thinkers alike. As such, he termed Black American Music, or #BAM for short, to represent the breadth of improvisational musical creations created by Black people in the U.S., regardless of genre. His introduction of #BAM into the lexicon of popular music discourse landed him an entry in the New York Times‘ “The Decade in Jazz: 10 Definitive Moments” in 2019.

“(Black American Music) is … a liberation music, it is our first global recognition in humanizing, if you will, a class of people who were systematically dehumanized for centuries,” Payton says. “The concern for me is to draw from the wellspring of all the great Black ancestors who inspired me to play this music in the first place. And to hopefully keep that energy, that spirit.”

Through his mission-driven work and art, Payton continues to creatively move boundaries, while inspiring and remaining inspired by the pioneering lineage of Black American Music, of which he is a part.


Ingrid JensenIngrid Jensen

Guest Artist & Competition Judge

Ingrid Jensen has been hailed as one of the most gifted trumpeters of her generation. As a sought-out teacher, collaborator, and soloist, it is easy to see why the New York Times calls her “as versatile as she is vigorous.”

After graduating from Berklee College of Music in 1989, Jensen was offered a position at the prestigious Bruckner Conservatory in Linz, Austria. In the 1990s, she recorded three highly acclaimed CDs for the ENJA record label, becoming one of the most in demand trumpet players on the global jazz scene.

Settling in New York City, she joined the innovative jazz orchestras of Maria Schneider (1994- 2012) and Darcy James Argue (2002-present). She has performed with a multigenerational cast of jazz legends ranging from Clark Terry to Esperanza Spalding. Jensen has also performed alongside British R&B artist Corrine Bailey Rae on Saturday Night Live and recorded with Canadian pop icon Sarah McLachlan. Jensen is prominently featured on the Grammy Award winning Mosaic Project, led by drummer Terri-Lyne Carrington.

One of Jensen’s most frequent and closest collaborators is her sister, the saxophonist and composer Christine Jensen. She is a featured soloist on the Christine Jensen Jazz Orchestra’s Juno-award-winning album, Treelines (2011), and its successor, Habitat (2013). The sisters released a highly regarded small group recording entitled Infinitude (2016) on the Whirlwind label featuring the brilliant guitarist, Ben Monder and have further collaborated with Nordic Connect, an international band featuring pianist and composer Maggi Olin.

A dedicated jazz educator, Jensen has resided on the jazz trumpet faculties at the University of Michigan, Peabody Conservatory and Manhattan School of Music. She also served on the jazz faculty, teaching composition and arranging at Purchase College and the New School for Jazz in NYC. She performed and lectured as a guest artist with the Thelonious Monk Institute High School group featuring Herbie Hancock; and performed and taught regularly at the Centrum Jazz Workshop, the Brubeck Institute, the Banff Center for Jazz and Creative music, the Stanford Jazz Camp, the Geri Allen Jazz Camp for Young Women and the Betty Carter Institute under the direction of Jason Moran. She is currently the Dean and Director of Jazz Arts at the prestigious Manhattan School of Music.

Since her victory at the Carmine Caruso Trumpet Competition in 1995, Jensen has sat on the judges’ panel twice. She is regularly invited to trumpet festivals around the world and recently served as artist-in-residence with Tia Fuller at the prestigious Monterey Jazz Festival, where she also performed with her own quintet.

Her second project on the Whirlwind label honoring the late great Kenny Wheeler-Invisible Sounds (2018) was featured on NPR’s Jazz Night in America hosted by Christian McBride, receiving critical acclaim both in the US and abroad. Glowing reviews have earned her a loyal fan base around the globe, and she was hailed by the JJA as 2019’s Trumpeter of the Year as well, she is consistently listed in the top 5 in the Trumpet category of the Downbeat critics poll.

Ingrid records often as a guest on scores of side projects, appearing at major venues around the world both as a performer and an educator.

She is an integral member of the highly acclaimed Blue Note recording band, Artemis and continues to write for and perform with her own projects both in New York and beyond.

Ingrid plays a custom Monette trumpet, built personally by the master builder Dave Monette.


Terell StaffordTerell Stafford 

Guest Artist & Competition Judge

The title of his most recent album, Between Two Worlds, perfectly encapsulates the boundary-crossing life and career of renowned trumpet player, composer, and educator Terell Stafford. Hailed as “one of the great players of our time” by the late piano icon McCoy Tyner, Stafford unites any number of dichotomies in his music: jazz and classical traditions, stunning virtuosity and profound emotion, stylistic eclecticism and an immediately identifiable voice.

At the same time he straddles worlds in a variety of ways in his career, juggling roles as a thriving musician and an acclaimed educator, or as a visionary bandleader and an in-demand sideman for some of the music’s most legendary performers. Perhaps most importantly, he strives to strike that always precarious balance between a professional touring musician and a loving husband and father to his family.

Looking back over Stafford’s evolution, The New Yorker called him, “a distinguished bandleader and composer whose horn playing still startles with its verve and conviction.” 

Those facets can be heard vividly on more than 180 recordings over the last three decades. That includes a dozen albums under Stafford’s own name, from his 1995 debut Time To Let Go to Between Two Worlds in 2023. Along the way he’s paid homage to formative influences including Lee Morgan and Billy Strayhorn and celebrated the tightly-knit and incredibly gifted community of musicians with whom he’s surrounded himself both on the bandstand and in the halls of academia.

In addition to the Terell Stafford Quintet, Stafford is the founder and Managing and Artistic Director of the Jazz Orchestra of Philadelphia (JOP), a big band composed of a generation-spanning roster of stellar Philly musicians, dedicated to celebrating the legacies of the many influential players and composers who emerged from the City of Brotherly Love.

As the Director of Jazz Studies and Chair of Instrumental Studies at Philadelphia’s Temple University, Stafford has become a nurturing mentor to new generations of up-and-coming jazz musicians. He’s helped to guide the university and its students to impressive victories at Jazz at Lincoln Center’s Jack Rudin Jazz Championship, winning the inaugural event in 2020; and to grow the school’s Grammy-nominated record label, BCM&D, with recordings by the Temple University Jazz Band (including guest artists including Christian McBride, Joey DeFrancesco, Branford Marsalis, Jimmy Heath, Jon Faddis, and Dick Oatts) and all-star ensembles featuring Stafford and his fellow faculty members.

Born in Miami and raised in Chicago, Stafford began studying classical trumpet at the age of 13. He first encountered jazz while earning his degree in music education at the University of Maryland – a practical compromise urged by his parents while he pursued a career as a classical musician. A fortuitous meeting with Wynton Marsalis led Stafford to study with Dr. William Fielder at Rutgers University, a vital mentorship that open the young trumpeter’s mind to explore a diverse range of genres and styles. Marsalis has remained a strong supporter, later inviting Stafford to perform with his Jazz at Lincoln Center Orchestra and offering guidance as Stafford developed his own Jazz Orchestra of Philadelphia.

It was at that point that Stafford began to delve deeply into the history of jazz, finding foundational influences in bebop greats like Clifford Brown and Lee Morgan. During that time he also connected with saxophonist Tim Warfield, who would go on to become one of his closest friends and collaborators, and who remains a key member of the Terell Stafford Quintet today. The two frequented jam sessions along the east coast, finding a vibrant home at the famed Philadelphia club Ortlieb’s Jazzhaus, where the house band featured such luminaries as organist Shirley Scott, pianist Sid Simmons, and drummer Mickey Roker.

Scott proved to be another guiding light for Stafford, enlisting him and Warfield to join her quintet as well as the house band for a revival of the TV game show You Bet Your Life. Both would make memorable early contributions to Scott’s final studio album, A Walkin’ Thing, in 1992. While at Rutgers, Stafford was also invited to join Bobby Watson’s Horizon, a group that the saxophonist formed in the image of his own proving ground, Art Blakey’s Jazz Messengers. Through that experience Stafford went on to record with Watson’s big band on the 1993 release Tailor Made, and to join McCoy Tyner’s Latin All-Star Band, helping to hone his skills alongside Latin jazz giants including trombonist Steve Turre, flutist Dave Valentin, and percussionist Jerry Gonzalez.

Since that time Stafford has played an integral role in such legend-fronted groups as the McCoy Tyner Sextet, Benny Golson Sextet, Kenny Barron Quintet, Frank Wess Quintet, Jimmy Heath Quintet and Big Band, Jon Faddis Jazz Orchestra, Carnegie Hall Jazz Band and Dizzy Gillespie All-Star Alumni Band. He has been a longtime member of the Vanguard Jazz Orchestra, which garnered a Grammy Award in 2009 as Best Large Ensemble for their album Live at the Village Vanguard. Stafford has enjoyed fruitful tenures with the Grammy-nominated Clayton Brothers band and the Clayton-Hamilton Jazz Orchestra, as well as with drummer Matt Wilson’s eclectic group Arts and Crafts. He has performed with bands led by Cedar Walton, Sadao Watanabe, and Herbie Mann, while his most recent collaborations include the iconic saxophonist Charles McPherson and the Grammy-anointed Best New Artist, rising star singer Samara Joy. Stafford has also composed new music for the PRISM Saxophone Quartet.

Following the release of Time To Let Go (Candid) in 1995, Stafford released Centripetal Force (Candid) in 1996, Fields of Gold (Nagel-Heyer) in 2000, New Beginnings (MAXJAZZ) in 2003, and the live Taking Chances (MAXJAZZ) in 2007, a catalogue that includes such acclaimed musicians as Mulgrew Miller, Bill Cunliffe, Antonio Hart, Ron Blake, Stefon Harris, Victor Lewis, Edward Simon, Steve Wilson, Bruce Barth, Derrick Hodge, Dick Oatts, and, of course, Tim Warfield. In 2011 he released his gorgeous take on the music of Billy Strayhorn with This Side of Strayhorn (MAXJAZZ), and in 2015 earned an NAACP Image Award nomination for Brotherlee Love, his homage to the late, great Lee Morgan. He co-led a quintet with sax giant Dick Oatts for 2009’s Bridging the Gap, and united with Oatts and other Temple faculty and friends (including Warfield, Barth, Byron Landham, Justin Faulkner and Mike Boone) for Family Feeling in 2018 and Fly With the Wind in 2023 (both BCM&D).


Julie LandsmanJulie Landsman

Guest Clinician

Principal horn with the Metropolitan Opera Orchestra for 25 years, Julie Landsman is a distinguished performing artist and educator. She received a bachelor of music degree from The Juilliard School in 1975 under the tutelage of James Chambers and Ranier De Intinis, and has served as a member of the Juilliard faculty since 1989.

A native of Brooklyn, New York, Landsman achieved her dream of becoming principal of the MET in 1985 and held that position until 2010. She has also shared her talent to many other ensembles within the city as a current member of the Orpheus Chamber Orchestra and having performed and recorded with the New York Philharmonic. Additionally, she has performed with numerous groups outside the city, including her co-principal position with the Houston Symphony, substitute principal position with the St. Paul Chamber Orchestra, and recent performances with The Philadelphia Orchestra as Associate principal horn, and the Los Angeles Chamber Orchestra, principal horn.

She has recorded for RCA, Deutsche Gramophone, CRI, Nonesuch and Vanguard labels, and is most famous for her performance of Wagner’s “Ring” cycle as solo horn with the MET Opera under the direction of James Levine. Landsman has performed as chamber musician at many festivals and concert series, including the Marlboro Music Festival, Chamber Music Northwest, the Santa Fe Chamber Music Festival, Sarasota Music Festival, La Jolla Summerfest, the Chamber Music Society of Lincoln Center,  Orcas Island Chamber Music  Festival,  and the Metropolitan Museum of Art, where she appeared as a guest artist with the Guarneri Quartet. In the summers she performs and teaches at the Music Academy of the West , the Sarasota Music  Festival, and the Aspen Music Festival.

World renowned as a master teacher, Julie Landsman holds faculty positions at The Juilliard School and Bard College Conservatory, and teaches frequently as a guest at the Curtis Institute. She has presented master classes at such distinguished institutions as The Colburn School, Curtis Institute, Eastman School of Music, Mannes College of Music, Manhattan School of Music, USC Thornton School of Music, Cal State Long Beach, Rowan University, University of Oklahoma, and University of Southern Mississippi, to name a few. She is also a visiting master teacher at the New World Symphony in Miami. Her international presence includes master classes in Norway, Sweden, and Israel.  In 2016 Landsman was an honored jury member at the ARD horn competition in Munich, Germany.

Her students hold positions in the Metropolitan Opera Orchestra, Philadelphia Orchestra, Los Angeles Philharmonic, San Francisco Opera and Ballet Orchestras, Washington National Opera Orchestra, Dallas Symphony, St. Louis Symphony, New Jersey Symphony, Colorado Symphony, and the American Brass Quintet. She recently received the “Pioneer Award” from the International Women’s Brass Conference and was a featured artist at the International Horn Society Conference in 2012 and 2015.

Her recent series of Carmine Caruso lessons on YouTube have led to further fame and renown among today’s generation of horn players. Landsman currently resides in Nyack, New York.

Contact North Texas Jazz

 

Email:
Location:
UNT College of Music
1155 Union Circle #311367
Denton, Texas 76203-5017