Ed Saindon entered Berklee College of Music in 1972 as a drummer and studied with Alan Dawson and Gary Chaffee. During his sophomore year, he began studying with Gary Burton on vibraphone and piano. Ed graduated Magna Cum Laude in 1976 and joined the faculty at Berklee upon the invitation to teach at the college from Gary Burton. Ed has been on the faculty of Berklee since 1976 and is a professor whose teaching activities include private lessons on mallets, ensemble performance, piano and improvisation.

Ed is a clinician for Yamaha and Vic Firth and is active giving clinics and seminars on vibraphone, marimba, piano, drums, jazz theory and harmony, composition and improvisation.

In addition to writing books for Berklee Press and Advance Music, Ed has written many articles on music education, vibraphone, jazz theory and improvisation. He is currently the vibraphone and jazz mallet editor for the Percussive Arts Society’s magazine Percussive Notes. His articles have appeared in many international publications including Downbeat, Percussive Notes and Percussioner International.

As a concert artist and clinician, he has traveled throughout the U.S., Europe, Brazil, Mexico and Japan. Ed is open to all kinds of music and enjoys all styles from straight ahead standards to contemporary originals. He has played and or recorded with such players as Ken Peplowski, Warren Vache, Kenny Werner, Dave Liebman, Mick Goodrick, Fred Hersch, Peter Erskine, Jeff Hamilton, Louie Bellson, Herb Pomeroy, Dick Johnson, Howard Alden, Dave McKenna, Marvin Stamm and Michael Moore among others.


"Alone Together" "Body and Soul"
"Round Midnight" "Danny Boy"

Ed's signature vibraphone mallet:
Signature Vibraphone - Ed Saindon
As a performing artist and clinician‚ Ed Saindon has traveled much of the world sharing his "pianistic approach" to playing. His new mallet creates a full sound with exceptional clarity at all dynamic levels. With a weighted core and tightly wrapped thin cord‚ this mallet is very versatile on vibraphone and marimba. Rattan shafts.
L = 16 1/4"
  [enlarge photo]


Check out the latest videos from Ed performing with his signature mallets on the marimba. With it's versatile design, these mallets produce a warm, articulate sound on vibraphone AND marimba!

"The Healing"

"Strayhorn" "Bologna D'inverno"
"Things Ain't What They Used to Be" Jobim's "O Grande Amor"



An Evening in New Hampshire
Ed Saindon/Vibes, Dave Liebman/Sax, David Clark/Bass and Matt Wilson/Drums
Video Courtesy of University of New Hampshire •  Used by Permission

 The Last Goodbye
 The Healing
 Moon River / Deep Hearts
 Black Orpheus
 Giorgio's Theme
 Pure Spirit
 Green Dolphin Street
 Alone Together
Several of these tunes can be heard on Ed's CD, “Depth of Emotion”
See below to check out this great CD, or visit for more information!


PASIC 2006

 Black Orpheus
 Body and Soul
 Do You Know What it Means (to Miss New Orleans)



“Rhythmic Phrasing in Improvisation”
“The Fulcrum Grip”
“Four Note Groupings, Part 1”
“Four Note Groupings, Part 2”

Ed Saindon, Vibes, Piano & Marimba
Dave Liebman, Soprano Sax, Indian Flute
David Clark, Acoustic Bass
Mark Walker, Drums

Visit Ed Saindon's website
for more recordings!


“Depth of Emotion is about creating and evoking emotions through music. This music should hopefully take the listener to places filled with a wide range of moods, feelings, and emotions. This is one of the most important gifts of music both from the standpoint of the player and the listener. Besides emotion, inspiration is another catalyst in the process of composition and improvisation.

Inspiration for musicians and composers can come from many sources. It might be a special person, a city or a mountain scene. In the case of “The Last Goodbye,” “Sao Paulo,” and “Alpine Sunset,” all of the above were sources of inspiration.

“The Last Goodbye” is in honor of legendary educator Herb Pomeroy who was a special musician and person who recently passed away. I had the privilege to play with Herb for many years in a duo format. He was a huge influence on me and so many other musicians in the jazz community. He will surely be missed, but his music and legacy will live on through everyone who knew and played with him.

“Sao Paulo” was inspired by a trip to Brazil several years ago that I undertook to give some clinics and concerts. It was a great experience and I loved the people, music, and food.

“Alpine Sunset” was written after a trip to Switzerland that my wife Pam and I took. The photo on the cover of this recording was taken from our chalet where we were staying in Interlaken, Switzerland. We traveled by train to the summit of Jungfrau which is the mountain on the right shown in the photo. Needless to say, it was an awe inspiring experience.

“Giorgio’s Theme” was written for Giorgio Pacassoni, the father of Marco Pacassoni, a former student from Italy. Giorgio and the Pacassoni family treated my wife and me to a wonderful trip in Italy several years ago. When we recorded this song, I was playing marimba in an isolated booth and couldn’t see Dave. The rhythm section started the song and all of a sudden I heard this beautiful, wooden Indian flute. It was totally unexpected and no one had any idea that Dave had brought it to the session. It was very effective in helping to create the right mood for the composition.

The “Piano Solo Reflections” are short, musical vignettes simply rendered to evoke a medley of moods for the listener. Being a fan of Astor Piazzolla and his music, I wrote “Piazzolla” in his honor. Piazzolla was a tremendous composer/musician and his powerful music is filled with a great deal of emotion.

“Joyful Sorrow” for me evokes many emotions. In music, it’s interesting how a piece of music can elicit multiple and layered emotions simultaneously. A composition can evoke both sadness and melancholy while at the same time elicit a sense of peacefulness and joy.

The entire session was recorded in three hours and had a relaxed feel. In essence, it felt like a musical dialogue among empathetic friends. It was clear from the beginning of the session and throughout, that everyone was stretching, listening and certainly not “playing it safe.” The session was over before we knew it. I hope you enjoy this music as much as we enjoyed playing it.”

Ed Saindon
September 2007

Ed Saindon, Vibes
Kenny Werner, Piano

Visit Ed Saindon's website
for more recordings!


“The pairing of piano and vibes in a duet format always has the potential to create beautiful music. Both instruments easily handle lead and rhythm roles while concurrently complimenting the counterpart. Where the challenge lies in this paring is how well the two musicians are able to read and react to each other. This is where synergy becomes the crucial element. On Key Play, whether soloing or filling, Ed Saindon and Kenny Werner complement each other so well that at times it becomes difficult to tell where one ends and the other begins. Lines flow into lines, back and forth. Where one leaves off the other picks up, creating a seamless flow of music that floats along, carrying the listener with it.

A pleasant interlude from the standards, Saindon’s writing has a contemporary feel that just slightly hints at romanticism. Of note, 18th’s child feels like a light-hearted minuet with a timeless quality that keeps the song playing long after it finishes. Spur of the Moment is played at a rapid pace with both piano and vibes exchanging long lines that quickly chase each other, running circles that move rapidly to a delicate, lingering close.”


 Technical Considerations
    Playing with deadstrokes, after pedaling, 4 mallet utilization with finger control
 Solo Playing Concepts and Techniques