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About Marty Sheller
Instrument: Arranger
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Marty Sheller
Born:
Marty’s first instrument was snare drum which he took up at age 10, and even though he switched to trumpet a year later, his love of percussion has played a major role in his career. He attended South Side High School in Newark, NJ and in 1957 he began college at Columbia University in New York City where he met fellow student and pianist Myron Schwartzman who introduced him to another student at the school, alto saxophonist Bobby Porcelli. They have all remained close friends since those days, when Sheller and Porcelli could be heard practicing Charlie Parker–Dizzy Gillespie unison lines in Marty’s dorm room. Marty made his professional debut in 1958, playing a summer gig with Porcelli, Schwartzman, and drummer Wilbur Bailey at the Woodbine Hotel in the Catskill Mountains
Marty Sheller: The Name Behind The Sound You All Know, Part 1
by Skip Heller
There are certain musicians who embody eras, even if they're not the player with their picture on the cover. In our contemporary musical climate, Greg Leisz comes to mind. Since 1991, he has popped up on hundreds of acclaimed albums, and without ever really changing his style, he has become centrifugal beyond the considerations of genre ...
Doug Beavers' Art Of The Arrangement Submitted For Grammy Nomination Consideration
Grammy Award winner Doug Beavers has been recognized as a leading trombonist and “an arranger of the first-class.” (Harvey Siders, JazzTimes). ArtistShare is proud to submit his exciting new recording, Art of the Arrangement for this year's Grammy nomination consideration. To celebrate musical arrangement as a unique and vital art form, Beavers has enlisted a dream ...
Marty Sheller: Libre
Back in the 1960s, Marty Sheller did a sizable share of arranging for Mongo Santamaria. Marty was in the trumpet section of Santamaria's band and was on his all-important Latin-jazz rendition of Herbie Hancock's Watermelon Man in December 1962. Marty also had a hand in most of those cool albums Santamaria recorded featuring Latin versions of ...
Interview: Marty Sheller (Part 3)
Many people think jazz went into a tailspin in the 1960s. In fact, out of commercial necessity, jazz hitched its wagon to many different music forms, from pop and soul to r&b and Latin. Each merger produced different genres. Soul-jazz resulted in organ-tenor sax combos like those recorded on Prestige. Funk-jazz was pioneered by Horace Silver ...
Interview: Marty Sheller (Part 2)
Three forces transformed Latin music in the fall of 1962. First, the grittier, slinky funk of Horace Silver, Bobby Timmons and Art Blakey had a big impact on artists, shifting Latin music away from popular Cuban dances. Second, waves of Puerto Rican immigrants to New York in the 1950s had created a new youth market for ...
Interview: Marty Sheller (Part 1)
The name Marty Sheller may not ring a bell. But anyone hip to Latin-jazz is aware of his enormous contribution to the music. First, that's Marty's trumpet solo on Mongo Santamaria's 1962 hit recording of Watermelon Man. The single helped launch the boogaloo, a dance beat that merged Puerto Rican and Cuban rhythms with jazz and ...
Veteran Latin-Jazz Arranger Marty Sheller to Release "Why Deny," His Debut Album, 2/19
Marty Sheller's long and busy career as a valued arranger-composer-producer for many of the biggest names in Latin jazz and salsa music--including Tito Puente, Willie Coln, Ruben Blades, Hector Lavoe, Larry Harlow, the Fania All-Stars, the Spanish Harlem Orchestra, and especially his close colleague Mongo Santamaria--left him little time to contemplate recording his own music. But ...
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