Jewish-American trumpet player, composer, arranger and record producer was born March 15,
1940 in Newark, New Jersey. His first instrument was snare drum which he took up at age 10, studying with a neighborhood
friend of his family, and even though he switched to trumpet a year later, his love of percussion has played a major role
in his career.
Sheller attended South Side High School and 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.
Sheller 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.
As young adults, they were passionate about the emerging music of Miles Davis, Art Blakey,
Horace Silver and John Coltrane, and that summer was spent transcribing and playing
songs from their recordings. In the fall, Sheller joined a band led by tenor saxophonist Hugo Dickens that played at
dances, fashion shows and cocktail sips sponsored by black social clubs in Harlem on Friday and Saturday nights. The
clubs wanted a band that could play rhythm and blues as well as Latin, and there was a group of musicians in New York that
had grown up listening to both kinds of music and knew how to play them authentically. There were three bands working
that circuit; Hugo Dickens, Pucho, and Joe Panama. Many musicians
who played in these bands went on to become very influential in the jazz and Latin--jazz scene, including drummers Pete
"La Roca" Sims, Phil Newsum and Steve Berrios, pianists Rodgers
Grant and Arthur Jenkins, bassist Bill Salter, trombonist Barry Rogers,
alto saxophonists Bobby Porcelli and Bobby Capers, and Hubert Laws who
doubled on tenor sax, flute, guitar and vocals.
In 1959 Sheller began playing with composer, arranger, timbalero, vibraharpist and pianist
Louie Ramirez, and in 1960 they put together a Latin--jazz band that played jazz songs with a Latin rhythm
section, but the band found little work. The group included conguero Frankie Malabe, whom Sheller sites
as an important early influence. Sheller spent many afternoons at Malabe's house on Simpson Street in The Bronx (across
the street and a few doors down from the infamous police station nicknamed "Fort Apache") studying African and Afro-Cuban
rhythms. Malabe would arrange two seats facing each other, put on a record, and demonstrate the conga parts by
playing them on Sheller's knees, explaining the time-keeping patterns and their relationship to the clave. The
Sheller/Ramirez band, finding few places that would hire them, discontinued rehearsals until conga player Sabu
Martinez hired the entire group, minus Malabe, to play on "Sabu's Jazz Espagnole" (originally issued
on Al Santiago's Alegre Label), considered by connoisseurs of Latin-jazz to be one of the genre's quintessential
Sheller was working with another timbalero-vibraharpist, Pete Terrace, when
he first met Mongo Santamaria at a club in the Bronx in 1961. The Cuban conga great had recently come
from San Francisco to New York with a charanga band. In November of 1962, Sheller got a call from Santamaria, who had
dropped the flute-and-violins lineup of the charanga band in favor of a Latin-jazz sound with a frontline of trumpet, alto
saxophone and tenor saxophone. Three days before Sheller began rehearsals, Mongo needed a piano player for a weekend
gig in a Bronx club. Chick Corea had just left the band and Donald Byrd recommended a young pianist
from Chicago. Byrd explained that the pianist had probably never played with a Latin band, but that he was a very good
musician and wasn't working -- it was Herbie Hancock. At the end of the gig, Hancock played a song
for Santamaria that he had recently recorded and felt would fit with a rhythm he heard Santamaria play that weekend.
The song was "Watermelon Man," and Hancock brought the music to Mongo's rehearsal (Sheller's first rehearsal with
Santamaria). When the band first played the song in public, at The Blue Coronet in Brooklyn, the people went wild. Pete
Long, Santamaria's manager, phoned Orrin Keepnews at Riverside Records with the news and persuaded
the producer to come out to the club (on Thanksgiving night 1962) to hear the reaction for himself. The next week,
Keepnews recorded the song for release as a single. Issued on Riverside's Battle subsidiary, "Watermelon Man"
became a Top 10 hit. It features a trumpet solo by Sheller, not playing in his usual bop-imbued style but rather blowing
simpler, funky lines inspired by Melvin Lastie's solo from the Barbara George hit "I
Sheller played with Santamaria, as well as composed, arranged, and eventually served as musical
director through 1968, when he put down his trumpet due to embouchure problems. He continued, however, working with
Santamaria as an arranger, composer, conductor and friend until the conguero's death in 2003. Among Santamaria's four
Grammy-nominated Latin-jazz recordings Sheller produced was the album "Dawn," which won a Grammy for Best Latin
Recording of 1977.
Sheller's awareness of clave counterpoint, combined with a thorough grounding in hard bop,
made him one of the most sought after New York arrangers. His jazz informed charts greatly contributed to the success
of the salsa music issued by Fania Records from the late 60's through the late 80's. Along with Louie
Ramirez and Luis Cruz Junior, he can be considered one of the architects of the Fania sound. Besides
scoring the 1989 hit "El Gran Varon" and many other recordings and productions by Willie Colon,
Sheller's arrangements can be heard on recordings by George Benson, Ruben Blades, David
Byrne, Jon Faddis, The Fania All-Stars, Larry Harlow, Giovanni
Hidalgo, Hector Lavoe, Arturo O'Farrill's Afro-Latin Jazz Orchestra, Manny
Oquendo's Libre, Sabu Martinez, Ismael Miranda, T.S. Monk,
Idris Muhammad, Luis "Perico" Ortiz, Charlie Palmieri,
Louie Ramirez, Tito Puente's Latin-Jazz Ensemble, Mongo Santamaria, Shirley
Scott, Woody Shaw, The Spanish Harlem Orchestra, Steve Turre and
Sheller collaborated with Charlie Gerard on the book "Salsa - The
Rhythm of Latin Music" and arranged a Clio Award-nominated Budweiser TV commercial featuring the
singing of Jose Feliciano. He composed, arranged and produced the music for the PBS TV
mini-series "Oye Willie" and did the same for the NBC TV (New York) Hispanic affairs program "Visiones."
He has conducted workshops at Baruch College in New York City at The Milt Hinton Jazz Festival with Tito Puente's
Latin-Jazz Ensemble and with Jerry Gonzales' Fort Apache Band. On October
1,2005 Sheller participated as a panelist in a conference at Harvard University coordinated by The Cultural Agents Initiative,
The Smithsonian Institution and The Americas Society entitled "The Jewish Latin Mix; Making Salsa." That same
evening, The Lincoln Center Afro-Latin Jazz Orchestra premiered his composition "Counter Punch" featuring Bobby
Porcelli on alto sax. On July 24,2006 Sheller was the subject of an oral history interview collected by The
National Museum of American History (a part of The Smithsonian Institute). The interview is a key objective of the Online
Project For Latino Jazz Documentation and Education.
On February 19,2008 Sheller fulfilled a dream with the release of "Why Deny,"
the first recording issued under his own name on his own label, PVR Records. He has a second CD completed
and continues composing and arranging for future releases of The Marty Sheller Ensemble.