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Mark Sherman

About Me

mailto:E-mail [email protected] http://www.markshermanmusic.com

Mark Sherman is a fresh, clear, bright voice on the vibes. The Motive Series should elevate Mark Sherman to the prominence he deserves. -Dr. Judith Schlesinger, All About Jazz Magazine

After nearly 25 years of recording, writing, and performing with Larry Coryell's group and many others, vibraphonist Mark Sherman a Yamaha performing artist has a great new group featuring Tim Horner on drums, Allen Farnham on piano, Phil Palombi on bass. The upcoming recording by Sherman is entitled �The Motive Series� featuring M ichael Brecker , which Sherman claims is some of his best work to date. This group is available and seeks booking in all clubs, festivals and schools across the world. Tied in with most of Sherman's live performances (clubs, and festivals) is a 2 hour master-class on language skills for improvisation, usually done at the local music school or university music department, and sponsored by Yamaha.” These master-classes have been extremely successful at the high school and college level. I've received countless emails from students telling me how my system for learning the harmonic language needed for playing jazz was the simplest and most user friendly system they've come across, and that it answered many of the confusing questions, and got them improvising on chord changes very quickly.” Below you'll find Mr. Sherman's bio/resume and a master-class outline with some testimonials

Mark Sherman's background, Juilliard education, and working, performance and recording experience have all contributed to a unique vision, which incorporates elements of jazz and classical music. Accomplished as a soloist (vibes/piano), ensemble player, composer and conductor, Sherman is in love with music and re-harmonization of chords to explore and give expression to his musical vision. The Bronx-born and raised son of a star soprano for the Cleveland and Boston Symphony Orchestras had 5 years of classical piano lessons before he fell in love with jazz through Lester Young, Charlie Parker and Coltrane LP's. He had been playing drums for a while and practicing with records, emulating Elvin Jones, when he heard that Elvin was teaching at Frank Ippolito's Professional Percussion Center. Mark sought him out as a teacher. What he learned most from Elvin was a feeling of “loose but intense swing” and how to “channel spiritual energy into music.” Sherman graduated from high school of Music and Art and then went on to Juilliard where he had 5 solid years of percussion training with tympani master Saul Goodman. He played in symphonic situations led by Zubin Mehta and Leonard Bernstein. At Juilliard he met another soul at home in both classical and jazz worlds -- Wynton Marsalis. They jammed together regularly and years later when Columbia Records' George Butler inquired about Mark, Wynton's endorsement helped pave the way for Sherman's record date A New Balance ( 1986). The first few years after Juilliard he made a living in the “pits” of long running Broadway shows. But more challenging work soon came his way, He found himself in playing situations with, Kenny Kirkland, Rodney Jones, the NY Philharmonic, the Joffrey ballet Orchestra, the American Symphony, the NY New Music Ensemble and many other groups. David Chesky wrote a concerto for vibes and orchestra especially for Sherman which has been performed twice. Mark performed as featured soloist in Darius Milhaud's Concerto For Marimba and Orchestra at Merkin Hall. Sherman went on the road with singers Jackie and Roy, which led to his recording and working with Peggy Lee (6years). From her he had lessons in how to “turn a musical phrase” and “subtle time.” Working with the special musicians Lee surrounded herself with (Grady Tate, Mike Renzi, and Jay Leonhart) led to gigs with Mel Torme and recordings with other singers including Maureen McGovern, Liza Minelli, and Jon Hendricks; and he got more studio and work experience. He played on records by guitarists Joe Beck and Rodney Jones and also produced Jones' CD “The Unspoken Heart” for Minor Music in Germany. Sherman began touring with R&B pioneer Ruth Brown just at the time when she was being reappreciated as a jazz singer. But her singing of standards always calls for a heavy dose of blues feeling and blues changes. Mark was exposed to a lot of different blues forms and tempos. In accompanying her he gained a renewed awareness of the blues as the roots of all American popular music. He played vibes and piano on Brown's “Songs Of My Life” ( Fantasy) After recording for small labels, A New Balance (CBS) showcased his skills as a composer, vibist and pianist. In the last few years Mark has taught at Juilliard and done Master classes at Manhattan School Of Music. Some of his music has been used regularly on TV shows. Mark has been touring with guitarist Larry Coryell. He produced Coryell's new album for I'll Be Over You (CTI records) 1996. Coryell also recorded several of Mark's tunes and utilized his skills as a producer on Sketches Of Coryell (Shanachie records)1997. Mark played vibes on Gloria Lynne's latest record “This One's On Me” (High Note records) as well as Lena Horne�s new release on (Blue Note records). In addition Mark has four CD's of his own music “Spiral Staircase”, “High Rolling” and “Daylight Calling”, and �The Motive Series� on MHP records which are available on the internet at www.markshermanmusic.com Recording Discography as a producer: Raquelle Chavis- �Rilanga and Many Short Stories� 2001 Mark Sherman-Tim Hegarty Project �Daylight Calling� MHP records 1999 Mark Sherman �High Rolling� MHP records 1998 Larry Coryell �Sketches Of Coryell� Shanachie records 1997 Mark Sherman �Spiral Staircase� MHP records 1997 Larry Coryell �I'll Be Over You� CTI records 1996 Rodney Jones �The Unspoken Heart� Minor Music 1992 Mark Sherman �A New Balance� CBS records 1988 Mark Sherman �Fulcrum Point� Unisphere records 1986 Soundworks Physical World records 1981 As a sideman: Ann Hampton Callaway- Shanachie Records 2004 Liza Minelli- Liza�s Back 2003 Ronnie Jordan-Off The record Blue Note 2003 Rodney Jones- Blue Note records 2002 Raquelle Chavis - �Rilanga and Many Short Stories� 2001 Ronnie Jordan- Blue Note records 2001 Larry Coryell -�New High� High Note records 2001 Rodney Jones- �The Undiscovered Few� Blue Note Records 1999 Gloria Lynne- �This One's On Me� High Note records 1998 Lena Horne- Blue Note records 1998 Rodney Jones- �The X Field� Blue Note Records 1998 Julian Coryell-�Duality� N2K Encoded Music 1997 Larry Coryell- �Sketches Of Coryell� Shanachie records 1996 Larry Coryell- �I'll Be Over You� CTI records 1995 Ruth Brown- �The Songs Of My Life� Fantasy records 1994 Laverne butler- �Daydreamin� Chesky records 1994 Liza Minelli- �Steppin' Out� RCA records 1994 Laverne Butler- �No Lookin Back� Chesky records 1993 Rodney Jones- �The Unspoken Heart� Minor Music 1992 Maureen Mcgovern- �The Gershwin Album� CBS Masterworks 1992 David Stahl Big Band- �Live at The Knights� Abeecake records 1990 Peggy Lee- �There'll Never Be Another Spring� Musicmasters 1990 Peggy Lee- �Miss Peggy Lee Sings The Blues� Musicmasters 1989 Joe Beck- �Back To Beck� DMP records 1988 Solo recordings: Mark Sherman- �The Motive Series � 2004 Mark Sherman-Tim Hegarty Project - �Daylight Calling� MHP records 1999 Mark Sherman �High Rollin� MHP records 1998 Mark Sherman- �Spiral Staircase� MHP records 1997 Mark Sherman- �A New Balance� CBS records 1986 Mark Sherman- �Fulcrum Point� Unisphere records 1980



Reviews

“Mark Sherman is a long time friend who composed the super-hip”Spiral Staircase” and plays vibes with a vengeance.In this unrestricted atmosphere of a straight ahead blowing date, he came through with some “killer” solos and ensemble playing.” Larry Coryell (liner notes High Note Records)

” a sensitive virtuoso on the vibraphone” -Andrew Porter, New Yorker Magazine NYC



“Mark Sherman: “A New Balance” on Columbia is getting some re'awakened interest nationally because of a fusion oriented single, “Changes In My Life”, drawn from Sherman's ecclectic album. The vibes player knows his way around the keyboards and synthesizer too. “Serenity” is a straight ahead effort and “Songo” a burner. Both cuts will appeal to the broad jazz audience: The album is worth a spin: it's getting that all across the country. -Jazziz Magazine



One of the more exciting discoveries was the playing of Sherman..... There is a lot to absorb in Shermans playing....A small price to pay for the chance to hear a performer who explores a song so thoroughly.” -The Citizen, Ottawa

”Sherman's trio churned out pulsing meaty jazz in a variety of styles. Sherman played several shimmering vibe solos that packed a explosive punch. His bold improvisations effectively countered the tightly orchestrated arrangements”. -The Charlotte Observer Charlotte N.C.

”A fine performance (of Darius Milhaud's Concerto for Marimba, Vibraphone and Orchestra)... This rarely performed work exploits the Marimba to great advantage.” -Bill Zakariasen, The Daily news NYC

”Sherman's playing has flash, sophistication, and depth harmonically”. -San Francisco Chronicle

Master-class/Concert summary:



I do a master class primarily on language skills for improvisation (applicable on all instruments). The most common problem that many high school students and college students have is that they have this eternal question that needs to be clarified. That is �what scales go with which chord changes, how can I apply them to create good solos�



My method takes you through learning all your 2-5-1 progressions in all keys using various drills, for voicing and mastery of the chords in all keys. Utilizing major scales and diminished scales I can get a beginner moving very quickly on his or her quest to master the understanding and performance of chord changes. I take you through a simple and methodical way of thinking about harmony and improvisations. My scale drills and chord outline drills combined with my motive development drill will drive your improvising in forward motion. The simplicity of my way of thinking of the language allows a student to learn it quick and begin soloing right away which turns learning into fun as well as boosts the players confidence on their instrument of choice.



After a 2hr clinic (complete with handouts of my materials) I rehearse a group of faculty members or local players in a program of a couple of original compositions combined with my arrangements of various standards and I do an evening concert leading a quartet (the performance portion can be incorporated into the master-class if time and money do not allow an evening performance). This allows the students to see my method in its highest form of application. They notice many of the techniques discussed in the clinic in performance. I find this to be a great learning and motivating experience for them. I have had many letters from students long after I�m gone telling me of how my one day at their school helped them feel secure about what they were playing.

This program has been successful at The Juilliard School, Peabody Conservatory, University of Southern Missisippi and many other university and high school music departments that I�ve traveled to. Yamaha sponsors many of the traveling clinics I do with instruments and some funding when needed.



On The next page are some testimonials regarding my teaching method













Testimonials � I found Mark's teaching method to be the best I've yet encountered regarding what's REALLY important in jazz, i.e., his “triplets” concept re: feeling time, for example. He knows how to convey all the essentials of extended harmony and at the same time keeps you glued to the basics of swinging, soulful phrasing plus how to listen & respond the other players. U can't get any better than that. Larry Coryell Jazz Guitarist � It is with great pleasure that I lend my support to this web site. Mark Sherman is a unique individual in that he embodies both the spirit of musical excellence with a gift and desire to assist others in their musical quests. I have known Mark for some 30 years now and have had the pleasure of performing with him in numerous settings from Lena Horne to Rosie O'Donnell as well as on three of my own Cd's including my most recent release on Blue note Records scheduled for a spring 2001 release. I have also watched Mark in action as a teacher and musical mentor. I can think of no finer person that one could apprentice to. He has a gift for distilling the key elements in any style of music thus making accelerated learning possible. Rather than wasting time studying things that are not necessary, Mark is able to guide the student to those key elements that make musical progress quick and learning fun. I wholeheartedly recommend his teaching methods. Now everyone has the opportunity to experience what the pros in the music business already know. Mark is an amazing musician, teacher and most importantly, a fine human being. Rodney Jones, October 2000 Blue note Records Recording Artist Professor of Jazz Guitar Studies, Manhattan School of Music Staff Guitarist, The Rosie O'Donnell Show � Over a span of several decades, Mark Sherman has consistently proven himself as an original and creative improviser. Finally his wonderful improvisation system is available online. This system reveals valuable secrets in a clear easy way and covers all bases Bravo! Kenwood Dennard Associate Professor, Berklee Coll. of Music Formerly with Miles Davis � ”Mark's system of teaching is clear and effective” MARK SOSKIN (Sonny Rollins' pianist for 10 years) � Mark Sherman's approach to teaching reflects the multidimensional experiences he's had as a pianist, vibist and percussionist over the years performing and recording in a variety of musical contexts. It is one thing to be a soloist, it is another challenge to be a well-rounded musician who is prepared to play what the music calls for. Mark Sherman can teach whatis necessary to play.”* Akira Tana Drummer �Tana Reid Project � Mark Sherman's master class was absolutely fantastic! It provided students with a clear path to the world of improvisation using a method that was both logical and engaging. That Mark could demonstrate his approach fluently on vibraphone, piano, and drum set also enhanced his presentation tremendously. It was a revelation to a very eager group of musicians, who since that time have improved dramatically. I am grateful to Mark Sherman for putting together a series that will help numerous students find their voice in music. Paul Hostetter-Faculty, the Juilliard School Music Advancement Program � Finally students of jazz improvisation have a clear guide in Mark Sherman. His method of integrating scales and chords into a linear and rhythmic framework is as satisfying and learning-friendly as I've seen. Any student of Mark's will immediately gain confidence, and the ability to play thru chord changes seamlessly. I applaud his enabling generosity. Gordon Gottlieb-Professor of Percussion The Juilliard School