“It was the summer, and I was staying in the dorm. “It was 1959 and I was studying at Columbia in New York City,” Sheller told the author. It was at Columbia that Marty met another musician who, like him, started his musical journey as a young boy on the snare drum and would become a lifelong friend. After attending South Side High School in Newark, NJ he began college at Columbia University in New York City where he met, through fellow student and pianist Myron Schwartzman, alto saxophonist Bobby Porcelli at a gig they got in the Catskills. My high school band teacher John Coppock inspired me and encouraged me to play the trumpet.”Īlthough known as a trumpeter, his initial love of percussion would serve him well when he later would begin to perform in New York City’s Latin music scene. Music was everywhere-on street corners, on the radio, in theaters. In an interview with jazz journalist Marc Myers Jazz Wax blog back in 2009, Marty stated: “I had a great childhood. At the age of 10 he was already playing snare drum but would switch to the trumpet at age 11. Sheller was born in Newark New Jersey on March 15, 1940. Marty and Bobby are both featured with Artie and Louis Ramirez has the last word on timbales. Tactical air support is by Bill Salter on bass who would later go on to fame with Roberta Flack, and Artie Jenkins on piano. Released in 1961 here is an example from that recording: “The Oracle,” composed and arranged by Louis Ramirez. But the recording has become legendary for its hard bop approach a la Blakey to small group Afro-Cuban jazz. Frankie appears on all the short little percussion jams between each tune playing congas with Sabu as well as bongo and handbell on some of the tracks with Phil Newsum.”ĭespite Sabu’s name being linked to the recording, it sold abysmally. So he told us that Sabu Martinez who had a big rep from playing congas with the the likes of Dizzy Gillespie and Art Blakey, one of our heroes, was made the leader and played congas on the recording. “Al Santiago who ran Alegre records in the Bronx wanted to put out the album but wanted a known name on the cover as the leader in order to boost record sales. Louis at that time was studying at the Juilliard school and was becoming a formidable musician,” Sheller explained to the author. “The album, Jazz Espagnole, was really supposed to be conguero Frankie Malabe’s date. Those small group experiments with the aforementioned alto saxophonist Bobby Porcelli, and Puerto Rican timbalero, composer, arranger Louis Ramirez, would lead to a seminal recording in Afro-Cuban/Latin jazz history. He always wanted players that were coming from a jazz background but could deal with the rhythms.” Before that Mongo had had a charanga group and had recorded a successful record, but a lot of those guys were committed to other groups. Sheller recalled to the author in a story for : “Bassist Victor Venegas and I knew each other. In 1962 Sheller came to the public’s attention as a member of legendary conguero Mongo Santamaria’s group. Larry Harlow - Interlude IX - Finale - Mírame, óyeme - Ft.
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