VIC FIRTH SIGNATURE ARTIST
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.
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!
"Things Ain't What They Used to Be"
Jobim's "O Grande Amor"
An Evening in New Hampshire
LISTEN TO CUTS FROM ED’S MOST RECENT CD:
About “DEPTH OF EMOTION”:
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.”
LISTEN TO CUTS FROM KEY PLAY!
A REVIEW of “Key Play” from JAZZREVIEW.COM:
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.”
CHECK OUT SOME EXCERPTS FROM ED'S 2006 PASIC CLINIC: