Date of Birth: March 15, 1940
Marty Sheller was born in Newark (pronounced "new Urk"), New Jersey, March 15 1940. His first instrument was the snare drum, which took in school at age 10. "I had a definite affinity for the drum," he recalls. "I always had a very good sense of timing and tempo." Soon, however, went on the trumpet. "They were in terrible drum performers who could not keep time, "he explains." I was going crazy. "
trumpeter made his professional debut in 1958, playing a summer concert at the Woodbine Hotel in the Catskills. That fall, he joined a band led by tenor saxophonist Hugo Dickens. "There was a lot of black social clubs that are dancing in Harlem on Friday and Saturday nights." Sheller says. "They wanted a band that could play rhythm and blues and Latin as well, and in New York had a group of musicians who had grown up listening to both kinds of music and know how to play it authentically. There were three bands that were doing: Hugo Dickens, Pucho Brown and Joe Panama. Many musicians who played in these bands became a major influence on Latin music and Latin jazz. "
Sheller then hooked up with drummer and vibraphonist Louie Ramirez." Recognized in him a love of jazz, and acknowledged to me love for Latin music, "said Sheller." We take care of a Latin jazz band will play songs of jazz with a Latin rhythm section. "The group included the conga Frankie Malabo, who cites an important early influence. "Frankie gave me the information on to the same rhythm, and Luis gave me the information on the concept of music and harmonious organization and the key, "he says. However, the band found little work." There are few places that would hire a band like that, "said Sheller. The master of the conga Sabu Martinez, however if the contracts for the whole group, Malabo least, to play in Jazz Espagnole Sabu, originally issued in the Alegre label.
Sheller was working with another drummer, vibraphonist Pete Terrace, when she met Mongo Santamaria in a club in the Bronx in 1961. The great Cuban conga player just arrived from San Francisco to New York with a charanga band. In November the following year was when he received a call Sheller Santamaria, percussionist had left out the flute and violins of the band charanga for Latin jazz sound with a frontline of trumpet, alto and tenor saxophone.
In the first trial of Sheller with Santamaria, Herbie Hancock brought in an arrangement of a song he had recently recorded for Blue Note called "Watermelon Man." "We changed the wording a bit," Sheller says his new band mates -. When I play first song in public at the Blue Coronet in Brooklyn ", the reception of the people went wild," says Sheller. Pete Long, manager Santamaría, phoned Orrin Keepnews at Riverside Records with the news and told the producers to record the song right away as a single. Published by the subsidiary of Riverside's Battle, "Watermelon Man" became a Top 10 pop hit. It has a trumpet solo by Sheller, who did not play in his usual style but bop-infused simple blowing lines inspired by Melvin's solo hit Lasties's of Barbara George "I Know" .- Do not do those things "Long recalls telling Sheller." You have to play funky. "
Sheller played with Santamaria, and served also as a composer, arranger and was its musical director until 1968, when he left the trumpet, because of mouth problems . He continued, however, working with Santamaria as an arranger, composer, director and producer sometimes to the death of the conga in 2003. Among the productions Shellercon Dawn Santamaria was the album that won a Grammy for Best Latin Recording 1977.
"I would never be happy, not to play trumpet," Sheller says, "but I realized that I have much satisfaction as to hear one of my arrangements played by good musicians like me to play."
Since leaving his trumpet playing, Sheller has been much in demand as an arranger and composer. His jazz-informed letters contributed greatly to the success of salsa music issued by Fania Records from the late 60's through 80's. In addition to marking the successful 1989 "Big Man" and many other recordings of Willie Colon, Sheller arrangements can be heard on albums by artists such as Fania Joe Bataan, Rubén Blades, Larry Harlow, Ismael Miranda and Hector Lavoe. Other credits include the organization of recordings for Shirley Scott, George Benson, Jon Faddis, David Byrne, Idris Muhammad, Giovanni Hidalgo, Steve Turre, and TS Monk, and a TV commercial for Budweiser prize-winning performance by Jose Feliciano.
recommendation of Bobby Porcelli, Sheller began writing for Tito Puente in 1993. His arrangements of Latin jazz albums: In Session, Tito's Idea, Jazzin'y Special Delivery.
"It was a pleasure to work with," Sheller said of the late drummer. "Jazz songs were not written to be key, as the songs of America, so there would be certain parts of the melodies that would not fit. Tito I would call and ask:" How you doing? "His attitude was:" You just to write the way you want to write, and we'll adjust to it. "It was a pleasure of a point of view of arranging to have my music played by excellent musicians in his band. They give more to life than what is written on paper." World-class musicians that form the Marty Sheller Ensemble gives life to the sounds Sheller put on paper .. Fans who have followed his career will no doubt be delighted, while experiencing his music for the first time is unlikely to deny the enormous talent that is Marty Sheller.
Marty Sheller was born in Newark (pronounced "new Urk"), New Jersey, March 15 1940. His first instrument was the snare drum, which took in school at age 10. "I had a definite affinity for the drum," he recalls. "I always had a very good sense of timing and tempo." Soon, however, went on the trumpet. "They were in terrible drum performers who could not keep time, "he explains." I was going crazy. "
trumpeter made his professional debut in 1958, playing a summer concert at the Woodbine Hotel in the Catskills. That fall, he joined a band led by tenor saxophonist Hugo Dickens. "There was a lot of black social clubs that are dancing in Harlem on Friday and Saturday nights." Sheller says. "They wanted a band that could play rhythm and blues and Latin as well, and in New York had a group of musicians who had grown up listening to both kinds of music and know how to play it authentically. There were three bands that were doing: Hugo Dickens, Pucho Brown and Joe Panama. Many musicians who played in these bands became a major influence on Latin music and Latin jazz. "
Sheller then hooked up with drummer and vibraphonist Louie Ramirez." Recognized in him a love of jazz, and acknowledged to me love for Latin music, "said Sheller." We take care of a Latin jazz band will play songs of jazz with a Latin rhythm section. "The group included the conga Frankie Malabo, who cites an important early influence. "Frankie gave me the information on to the same rhythm, and Luis gave me the information on the concept of music and harmonious organization and the key, "he says. However, the band found little work." There are few places that would hire a band like that, "said Sheller. The master of the conga Sabu Martinez, however if the contracts for the whole group, Malabo least, to play in Jazz Espagnole Sabu, originally issued in the Alegre label.
Sheller was working with another drummer, vibraphonist Pete Terrace, when she met Mongo Santamaria in a club in the Bronx in 1961. The great Cuban conga player just arrived from San Francisco to New York with a charanga band. In November the following year was when he received a call Sheller Santamaria, percussionist had left out the flute and violins of the band charanga for Latin jazz sound with a frontline of trumpet, alto and tenor saxophone.
In the first trial of Sheller with Santamaria, Herbie Hancock brought in an arrangement of a song he had recently recorded for Blue Note called "Watermelon Man." "We changed the wording a bit," Sheller says his new band mates -. When I play first song in public at the Blue Coronet in Brooklyn ", the reception of the people went wild," says Sheller. Pete Long, manager Santamaría, phoned Orrin Keepnews at Riverside Records with the news and told the producers to record the song right away as a single. Published by the subsidiary of Riverside's Battle, "Watermelon Man" became a Top 10 pop hit. It has a trumpet solo by Sheller, who did not play in his usual style but bop-infused simple blowing lines inspired by Melvin's solo hit Lasties's of Barbara George "I Know" .- Do not do those things "Long recalls telling Sheller." You have to play funky. "
Sheller played with Santamaria, and served also as a composer, arranger and was its musical director until 1968, when he left the trumpet, because of mouth problems . He continued, however, working with Santamaria as an arranger, composer, director and producer sometimes to the death of the conga in 2003. Among the productions Shellercon Dawn Santamaria was the album that won a Grammy for Best Latin Recording 1977. "I would never be happy, not to play trumpet," Sheller says, "but I realized that I have much satisfaction as to hear one of my arrangements played by good musicians like me to play."
Since leaving his trumpet playing, Sheller has been much in demand as an arranger and composer. His jazz-informed letters contributed greatly to the success of salsa music issued by Fania Records from the late 60's through 80's. In addition to marking the successful 1989 "Big Man" and many other recordings of Willie Colon, Sheller arrangements can be heard on albums by artists such as Fania Joe Bataan, Rubén Blades, Larry Harlow, Ismael Miranda and Hector Lavoe. Other credits include the organization of recordings for Shirley Scott, George Benson, Jon Faddis, David Byrne, Idris Muhammad, Giovanni Hidalgo, Steve Turre, and TS Monk, and a TV commercial for Budweiser prize-winning performance by Jose Feliciano.
recommendation of Bobby Porcelli, Sheller began writing for Tito Puente in 1993. His arrangements of Latin jazz albums: In Session, Tito's Idea, Jazzin'y Special Delivery.
"It was a pleasure to work with," Sheller said of the late drummer. "Jazz songs were not written to be key, as the songs of America, so there would be certain parts of the melodies that would not fit. Tito I would call and ask:" How you doing? "His attitude was:" You just to write the way you want to write, and we'll adjust to it. "It was a pleasure of a point of view of arranging to have my music played by excellent musicians in his band. They give more to life than what is written on paper." World-class musicians that form the Marty Sheller Ensemble gives life to the sounds Sheller put on paper .. Fans who have followed his career will no doubt be delighted, while experiencing his music for the first time is unlikely to deny the enormous talent that is Marty Sheller.
I can add this video, after this introduction that served as musical director for Mongo Santamaria's band.
Marty Sheller - Musical Director
Mongo Santamaria - Congas
Frank Malabo - Bongo
Ignacio Berroa - Drums
Lew Soloff - Trumpet
Bobby Porcelli - Alto Saxophone
Barry Rogers -
Trombone Andy Gonzalez - Bass
Bob Quaranta - Piano
Tikizia 
