New Website: We just launched a new version of my website which includes direct links to all of my YouTube videos, Photo Gallery and many downloads of audioclips, articles and lead sheets. Here's the link if anyone is interested in checking out the new site: Ed Saindon WebsitePrivate Instruction: If anyone has plans on coming through Boston and would like to schedule a lesson, they can email me at: esaindon@berklee.edu Lessons on Vibes, Marimba, Piano & Drums. Related Topics: Jazz Theory, Improvisation, Harmony, Composition and Ear Training.
YouTube Videos: Currently over 80 videos on YouTube. Recently added videos include clips from concert with Dave Liebman and Matt Wilson, Paris Conservatory clinic/concert and a quartet performance that took place in DeKalb, Illinois. To view any of the videos, please go to my page at YouTube here: Ed Saindon YouTube VideosNew Audioclips on the Playlist: We just added 7 new audioclips to the playlist. The clips are from a concert which took place at The University of New Hampshire in Durham, NH on February 2nd, 2009. The players are Dave Liebman – soprano & tenor, Matt Wilson – drums, David Clark – bass and me on vibes, piano and marimba.
For more information about the concert, please see my blog section.
Ed Saindon Signature Vibraphone and Marimba mallet by Vic Firth:
It took over a year to design the mallet, but my new signature model mallet from Vic Firth is now available. The mallet features a weighted core, four layers of varying latex and tightly wrapped thin yarn. I was looking to create an all purpose mallet for vibes and marimba that sounded good from playing solo to performing with a band. The mallet creates a very big sound, sounds fat and round while still retaining clarity at all dynamic levels. To check out the sound of the mallets, listen to the songs with Dave Liebman, Matt Wilson and David Clark that are on my playlist on MySpace. The concert took place right around when we finalized the mallets for Vic Firth. I was pleased with how the mallets sounded backing up Lieb's tenor as well as on the trio tune titled "Pure Spirit". I was looking for a mallet that had a depth, clarity and fullness in order to comp behind tenor. Also, in order for a trio with vibes, bass and drums to sound full and complete, I think it's important that the mallets sound fat and full as well as having good clarity. For more details and where to purchase, please go here: Ed Saindon Signature Vibe and Marimba MalletVic Firth Ed Saindon Artist Page: My artist page at Vic Firth has been updated with more videos and downloads including tracks from Depth of Emotion and Key Play. The page also has information on my new mallet as well as some past PAS articles that can be downloaded. Videos include Black Orpheus, The Last Goodbye from the Berklee Performance Center in Boston and excerpts from my PASIC 2006 clinic in Austin, Texas.
Concert Videoclips with Dave Liebman (tenor, soprano), Matt Wilson (drums), David Clark (bass) and Ed Saindon (vibes, marimba and piano). The concert took place at the University of New Hampshire on February 2nd, 2009.
Pure Spirit: This was the first song (minus Lieb) of the 2nd set of the concert and is an original of mine which can be downloaded on my website here: Pure SpiritGreen Dolphin Street - Part One and Part Two: I put this clip up at The Vibes Workshop which is a great site for vibists. Founded and run by vibist Tony Miceli, the site features lessons, videos and feedback from vibists all over the world. Joe Locke commented on this video. He's a good friend and really special player and person. Here are Joe's comments on the clip:
"I love it - check out 2:48 .... Lieb plays the most demonic phrase through the top of the 2nd half of the chorus, then Ed joins him for a series of descending unison half notes - a beautiful moment of psychic convergence!
This kind of upper-structure playing is something Liebman has been a master of for a long time, and he's developed a really personal language. It amazes me how Ed meets him in this musical "neighborhood" and is completely at home. Ed's solo is a little masterpiece, in my opinion, reminiscent of Herbie w/ Miles at (for ex) the Plugged Nickel, not in the exact vocabulary, but in the clarity and logic of the lines, combined with a sense of abandon, and a great feel. This, from a cat who can play like Teddy Wilson all night if he wants to! Truly a master of music. The fact that he happens to do it all ON THE VIBES is the good fortune of all us vibraphonists.
And don't get me started on Matt Wilson. He's SO baaad !!!!"
If anyone is interested in checking out the leadsheet version of the Green Dolphin Street reharm, it can be downloaded here from my website: Green Dolphin Street
Duo Rendition of Black Orpheus:
Past Articles:"The Fulcrum Grip" which explains and details the grip I have been working on and developing for the past several years. The grip utilizes a fulcrum point which allows the mallet player to use finger control in manipulating the movement of the mallets.
"Got Rhythm?" which is based on my book Exploration in Rhythm, Rhythmic Phrasing in Improvisation published by Advance Music.
"The Art of Composition" which includes a lead sheet of "The Last Goodbye", the lead track on Depth of Emotion.
Depth of Emotion January 30th, 2009: Dave Liebman interview in The Wire about Depth of Emotion
To use a cliché, Dave Liebman is a “musician’s musician.” Fluent on tenor and soprano saxophones as well as flute, alto flute, keyboards and drums, Liebman has carved a highly creative career that has spanned more than 40 years and has crossed genres from contemporary rock with Ten Wheel Drive to the bands of jazz greats Elvin Jones, Miles Davis and Chick Corea in the 1970s.
Strongly influenced by the spirit and music of John Coltrane, Liebman has recorded dozens of albums under his own name and has appeared on albums by Jones, Davis, Bob Moses and John McNeil, to name a few of many. Today, Liebman is involved in several group projects, including his ongoing bands Quest and the Dave Liebman Group as well as the cooperative band Saxophone Summit with saxophonists Joe Lovano and Ravi Coltrane. He is also active as an educator and author, having written several books on the art of improvisation. I spoke with Liebman via phone recently and touched on a wide range of points from his career.
So, how did you become involved with Ed Saindon’s CD project?
Liebman: Ed called me a few years ago and mentioned he had recently recorded a project with (pianist) Kenny Werner. Ed wanted to know if I would be interested in a quartet project he was working on with new music he was writing. I knew of Ed’s ability as a vibes player, so I told him that I would be up for taking part. He called me again about a year ago and I went up and we put the recording down in one day of work.
The music has a very open sound, especially with the use of the vibes and soprano sax.
Liebman: Yeah, I really liked the sound of the two instruments together. It’s the first time I’d recorded with a vibes player, yet the music came together very naturally. And when Ed switched to the piano on some of the tracks, the music took on a different character.
The reworked versions of “On Green Dolphin Street” and “Moon River”—were those Ed’s specific arrangements or were they conceived by the group as a whole in the studio?
Liebman: They were Ed’s arrangements, and they were very imaginative.
Do you like rearranging older tunes?
Liebman: Definitely. I know there are those who frown on the idea, who think that standards should be played the way they always are played. Personally, I think that reworking standards gives them a renewed freshness and liveliness that allows for new modes of creative expression for the player.
In light of what you said about recording the CD in one day, I have to say that there is a high level of interaction throughout the disc. It sounds as if the band had been on the road playing the tunes for a long time before you went into the studio.
Liebman: Thanks. There was very little that needed to be said in terms of the music. Ed gave us a general idea of the vibe of each piece and we all took it from there. It just came together in a very creative and positive way.
Depth of Emotion's lead track, "The Last Goodbye" can be downloaded at All About Jazz. I wrote the composition as a tribute to legendary educator and trumpeter Herb Pomeroy who passed away. I had the privilege of playing with Herb for many years in a duo format. Herb is sadly missed by everyone who knew and shared the bandstand with him. The lead sheet of "The Last Goodbye" can be downloaded here.
ReviewsAll About Jazz (September 08)
Liebman doubles on soprano sax and Indian flute on Depth of Emotion, where he joins Ed Saindon, himself a triple threat on vibes, marimba and piano. “The Last Goodbye” and “The Healing” have a classical pedigree, save for Liebman’s intermittent upper register wails and flutter effects. “On Green Dolphin Street” is played in a different key and is well-executed, particularly Saindon’s ‘four-handed’ playing and some nice pizzicato by bassist David Clark. “Moon River”, with Saindon on piano, becomes a bopper with Liebman’s blistering solo over the rhythm section. The waltz “Tokyo Nights” and “Sao Paolo” find the band cooking in the guise of a conventional quartet, Saindon again on piano. The Latin “Giorgio’s Theme” pairs up flute with marimba to produce a sexy tango. Another waltz, “Alpine Sunset”, finds Saindon back on vibes to accompany Liebman and Clark in a chamber jazz vein.
Jazz Times (September 2008)
On Depth of Emotion, the peripatetic saxophonist shares leadership with Ed Saindon, a skillful vibraphone, marimba and piano player who teaches at Berklee College of Music. Saindon, is also an adept, if understated, composer; apart from the standards "On Green Dolphin Street" and "Moon River", he's responsible for the bulk of the writing including his featured "Piano Solo Reflections", five compact vignettes that conclude the album.
Audiophile Audition (August 11, 2008)
"Very pleasant and thoughtful jazz from two pros...
Dave Liebman should be a household name to any jazz aficionado. Perhaps most well known for his work with the Saxophone Summit, the (primarily) tenor and soprano saxophonist has appeared on nearly 350 recording sessions and led or co-led over 100. Berklee professor, author, international jazz educator, and workshop leader, Ed Saindon is less widely known as a performer, but he has a long resume of famous jazz artists he’s played with. All the compositions on this disc are his, except the standards “Green Dolphin Street” and “Moon River.”
The Saindon originals save “Tokyo Nights” have a more or less pronounced Latin tinge, even the waltz-like “Alpine Sunset.” The best of these are “Giorgio’s Theme,” with its Uakti-like, primitive South American feel, the haunting “Last Goodbye,” dedicated to the late Herb Pomeroy, a friend and
frequent playing partner, and “The Healing,” a wistful, highly evocative number that features splendid Saindon soloing on its two different takes. The two standards are imaginatively reconfigured, with “Green Dolphin Street” given a very attractive spritely tempo and “Moon River,” thoroughly reworked with a long duet intro between Saindon (on piano) and Liebman, morphing into almost a blowing session with fine solos by Saindon and Liebman.
The disc ends with five unaccompanied piano pieces by Saindon totaling about thirteen minutes...they present another quite attractive side of Saindon. All in all, a delightful session."
The Wire (Sepember 25, 08)
Finally, there is “Depth of Emotion,” a remarkable recording from vibraphonist Ed Saindon. Saindon, who also teaches at the Berklee College of Music in Boston, enlists the help of renowned saxophonist Dave Liebman for a program of mostly original tunes, with a couple of reinterpreted standards thrown in. Rounding out the group are bassist Dave Clark and drummer Mark Walker, who provide a rock-solid foundation for Saindon’s and Liebman’s soaring flights of fancy.
The music at times has a gentle, almost ethereal feel, such as on the originals “The Last Goodbye” and “Alpine Sunset.” At other times, the music is more aggressive and straightforward, such as on a nicely restructured version of “On Green Dolphin Street” and another Saindon original called “The Healing.”
Liebman, who limits his horns to soprano sax and Indian flute, plays with his usual sense of invention and adventure. Hearing him play, you always get the sense of joy he exudes in creating music. The same goes for Saindon who has a very interactive approach, intertwining his accompaniment perfectly with Liebman and executing imaginative solo statements. For Saindon, this recording marks a return to the more open, exploratory side of jazz, after several forays into more mainstream American Songbook fare. It’s a wonderful statement, to be sure, and one that captures the essence of spontaneity that is at the heart of jazz. The disc is available on Saindon’s World Improvised Music label. For more info, visit www.edsaindon.com.
JazzChicago.Net
The combination of vibes and soprano sax is one that hasn’t really been utilized very often in the annals of jazz, but in the hands of two masters, Ed Saindon and Dave Liebman, a strong case is to be made for further exploration. "Depth of Emotion" is a highly satisfying release, surprisingly recorded in 3 hours, that features Berklee educator Ed Saindon on piano and 4-mallet vibes and marimba, along with saxophonist Dave Liebman playing Saindon's wonderful compositions. Backed by David Clark on acoustic bass and Mark Walker on drums for much of the album, Saindon's songs are sophisticated yet melodic, intensely felt, yet relaxed.
Highlights include: the bittersweet, yet joyous opener "The Last Goodbye" — written for the late trumpeter Herb Pomeroy, a frequent duet partner of Saindon's; two takes of the poignant "The Healing;" unique covers of "Moon River" and "Green Dolphin Street;" several lovely originals reflecting on places like Brazil and Switzerland; and a number of solo piano pieces that end the album. Liebman's saxophone is stellar throughout — emotional and melodic, but also tough and gnarly, and I enjoyed his brief turn on an Indian flute on "Giorgio’s Theme." Clark and Walker provide exemplary support and take advantage of their opportunities to shine when called upon.
The mix of Liebman's soprano sax and Saindon's vibes works so well because both parties use a soft and complementary tone. But Saindon, whose mallet work has been rightfully lauded, is quite the pleasant surprise on the piano. I suppose it shouldn't be too surprising as his approach to playing the vibraphone is quite pianistic, but he makes a compelling argument for gaining a wider audience for his brilliant work on the acoustic piano as well. The solo piano piece "Joyful Sorrow" is a perfect example of the emotional contrasts Saindon imbues his compositions with, deeply reflecting upon the very complexity of life itself. Balancing the need for melodicism with the spontaneity of freedom, Saindon and his counterpart Liebman find that airy stratosphere between ground and sky and heart and mind where they can paint a vivid musical panorama for the listener.
Brad Walseth - Chicago jazz critic Ejazznews
Crafting a unique blend of contemporary jazz, pianist Ed Saindon and saxophonist Dave Liebman offer a session of cutting edge music with intelligent charts and spontaneous improvisation to produce a quality recording with "Depth of Emotion." Saindon, who not only plays piano, but is also a four mallet vibist and plays the marimba as well, is featured as co-leader with Liebman who performs on the soprano sax. The duo are accompanied by bassist David Clark and Mark Walker on the drums forming one tight quartet.
Except for two standards provided fresh interpretations here, Saindon provides all original compositions. The quartet opens the music with the melancholy "The Last Goodbye" paying homage to the late Herb Pomeroy with whom Saindon performed for many years. On this tune Liebman introduces the music with his soprano voice eventually giving way to Saindon on the vibes then reengages to finish out a somber mood.
The group performs a light hearted rendition of the Kaper/Washington standard "Green Dolphin Street" where Liebman delivers some of his best solos of the album. Saindon provides an exquisite piano solo on one of the very best renditions of the Mancini/Mercer classic, "Moon River" I've ever heard as the saxophonist and pianist play off each other quite well.
Saindon leads off on the piano on "Tokyo Nights," later engaged by Liebman who together deliver another beautiful harmony in one of the best tunes here. The album ends featuring the pianist performing several short vignettes on the piano titled "Piano Solo Reflections."
This is one of those new 2008 releases containing a repertoire of refreshing new music that critics and the average jazz audiences will love. Assembling a unique combo, with Depth of Emotion, Ed Saindon and Dave Liebman chart a new course in modern jazz that deserves serious attention.
Ed Blanco - Ejazznews jazz critic and host of Miami's jazz station WDNA VortexJazz (UK)
Depth of Emotion is a quartet featuring soprano saxophonist/flautist Dave Liebman, vibes/piano/marimba player Ed Saindon, bassist David Clark and drummer Mark Walker, and this album contains nine band tracks and five solo piano pieces.
A teacher at the Berklee School of Music who began his musical career as a drummer, Saindon has made previous recordings with the late Herb Pomeroy (to whom this album's opening track, 'The Last Goodbye' is dedicated), Ken Peplowski and Warren Vaché, and (in a duo) with pianist Kenny Werner; he provides the originals on this album, and they run the stylistic and emotional gamut from the above-mentioned threnody, in which Liebman's characterful soprano snakes above Saindon's glowing vibes, to latin-inflected ('Sao Paulo') and gently wafting ('The Healing'), but whatever the mood or style (there are also visits to familiar pieces such as 'Green Dolphin Street' and 'Moon River'), the quartet play intelligently balanced, dynamic, vigorous but relaxed and informal music (the whole session took just three hours to record, and thus has the air of a meeting of sympathetic, like minds).
Saindon's vibes and marimba playing is tasteful but powerfully expressive, his piano pieces more quietly reflective; overall, this album provides an enjoyably representative sample of his considerable compositional and instrumental skills.
Chris Parker
En este disco se conjugan, a la vez y sin colisionar (fusión para este caso no sería el término más apropiado) la mirada descriptiva de la música romántica y la improvisación del jazz. Por un lado están las composiciones del vibrafonista/pianista Ed Saindon, auténtico protagonista del disco, que evocan tiempos (“Alpine sunset”); lugares (“Tokio nights”, “Sao Paulo”), y personas (“Giorgios’s theme”, “The last goodbye” –dedicado a Herb Pomeroy, trompetista fallecido en agosto del 2007); y por otro, las interpretaciones, donde la libertad de Dave Liebman se muestra a sus anchas, seguido muy de cerca por el resto de los miembros de la banda.
El disco se divide en dos partes claramente diferenciadas; en la primera –las nueve primeras canciones- están tocadas por el cuarteto, que suena compacto en todo momento; mientras que los cinco restantes están interpretadas a piano sólo por Ed Saindon. Estas últimas son piezas breves, casi apuntes, que remiten a compositores como Satie o Chopin. A pesar de la diversidad de sensaciones, a lo largo de toda la escucha se mantiene un claro sentido de la uniformidad y homogeneidad. No hay grandes saltos entre un tema y otro.
La totalidad del disco se grabó en tres horas, y en este sentido se podría decir que es casi un falso directo. Esa inmediatez se trasluce en las sensaciones que produce el cedé, un trabajo con una acusada tendencia a una mirada interior, tanto del compositor, como de los músicos y, por supuesto, del oyente. No es un álbum de relajación, es una música que puede acompañar a lo largo de cualquier momento del día. Y esa es una de sus grandezas.
Por último hay que señalar que quienes disfruten del aterciopelado y frágil sonido del vibráfono podrán disfrutar en este disco de todo el esplendor de ese instrumento. Si no conocen a Ed Saindon es un buen momento para hacerlo. Y este “Depth of emotion” (“Profunda emoción”) no les defraudará.
José Manuel Pérez Rey All Music Guide
Comfortable with both inside and outside playing, soprano saxman Dave Liebman has shown himself to be admirably flexible over the years. Liebman has appeared in avant-garde settings at times, but he has been equally successful on very straight-ahead albums, and his performances are definitely straight-ahead on Depth of Emotion, a 2006 date he co-leads with vibist/pianist/marimba player Ed Saindon.
This 72-minute CD (which includes a few standards but is dominated by Saindon's compositions) obviously called for Liebman to emphasize his more lyrical side, and he does exactly that on thoughtful, reflective Saindon pieces such as "The Last Goodbye," "Giorgio's Theme," and the Brazilian-influenced "São Paolo." That is not to say that Depth of Emotion does not have its cerebral moments; the standard "On Green Dolphin Street," for example, is given a decidedly angular treatment from Saindon and Liebman (who form an acoustic quartet with bassist David Clark and drummer Mark Walker). And their interpretation of "Moon River," although melodic, isn't nearly as sentimental as other recordings of the Henry Mancini/Johnny Mercer favorite. Listeners who associate "Moon River" with the 1961 film Breakfast at Tiffany's (starring Audrey Hepburn) will have one of two reactions to the Saindon/Liebman version: either they will long for something more sentimental, or they will applaud Saindon and Liebman for taking the song in a different direction, and if a listener has the second reaction, you will know that he/she really understands what makes many post-bop musicians tick. But Depth of Emotion is, on the whole, a lyrical and fairly accessible session for Saindon and Liebman, who are in equally strong form on this memorable disc.
Jazz critic Alex Henderson Music on the Web: Jazz CD Reviews (UK)
Ed Saindon is indisputably a virtuoso 4 mallet vibe player. Brilliant playing...Dave Liebman's soprano sax is beautifully in tune, and anyone who has chartered the progress of that intrinsically temperamental instrument must appreciate the skill and artistry on this disc. Always technically splendid, the expressive qualities of the musicians' intentions come at the listener with love and care. If you think the final piano tracks are "fillers", just listen and enjoy without thinking you have been short-changed by the rest of the gang, because these solos are in their own way, little gems. This is a, "listen to a lot" CD, and if your friends have different tastes, you can always play it at a discreet level, but someone will discover how rewarding it is to really get immersed in such stuff.
Adrienne Fox The Northern Echo (UK)
I'd previously heard Saindon on vibes in a mainstream session with Warren Vache, but here he adds marimba and piano on a more modern quartet session also featuring soprano saxophonist (and flautist) Liebman. There's a touching tribute to his Berklee colleague Herb Pomeroy and other originals interspersed with Green Dolphin Street and Moon River, plus five attractive 'piano solo reflections'.
Jazz critic Peter Bevan
Depth of Emotion - pick of the week on the show Jazz Jury broadcast by The Jazz, UK's leading jazz station
Presenter Tim Lihoreau was joined by two drummers - quintet leader Dylan Howe and former Yes star and Earthworks leader Bill Bruford - to choose Depth Of Emotion's self-titled album as their pick of the week.
Depth of Emotion is a quartet featuring the pianist and vibes player Ed Saindon and the soprano sax player Dave Liebman, focusing on “group dialogue, improvisation and spontaneity”. Of the 14 tracks, 12 are originals written by Saindon, while the remaining two tracks are covers of Green Dolphin Street and Moon River.
Here's what our latest panelists thought of the album Depth Of Emotion by Depth Of Emotion:
Bill: "I kind of came prepared not to particularly like this, soprano (sax) and vibraphone not being my favourite two instruments in the world, and I was completely won round by this music of staggering ability. This is some serious music. Ed Saindon's solo was just terrific and I loved Liebman's stuff at the front, his lovely soft soprano sound. The vibes also had quite a soft sound to them, but then they really started to motor. I loved it, loved it. Now I'm going to go and cry!"
Dylan: "It was a (vibes) solo that just seemed to edge on and on. It just opened up and everybody's happening on there." Percussive Notes (Percussive Arts Society) Depth of Emotion is vibraphonist/marimbist/pianist Ed Saindon's latest recording and it's a musically exciting collection of 14 modern jazz tunes (12 originals and two standards) performed by a cohesive and dynamic ensemble. Many of the tunes are stylistically similar - "broken" straight eight note groove with dark harmonies - and fall into the medium tempo range. There are also several solo piano features by Saindon, and his rhapsodic piano style is often reminiscent of Keith Jarrett's solo work. His piano style nicely contrasts with his vibe/marimba playing, which has a modern harmonic and rhythmic approach.
In addition to Saindon, the recording features the considerable talents of former Miles Davis sideman Dave Liebman (soprano sax/Indian flute), David Clark (bass) and Mark Walker (drums). Saindon sounds great on piano as well as on mallets and Walker contributes great energy and a strong groove.
The recording opens with a great deal of energy featuring the entire ensemble ("The Last Goodbye", a snaky, fluid version of "Green Dolphin Street," and a slinky bossa nova entitled "Giorgio's Theme"), but winds down with several mellow piano ballads. In addition to his performance on the recording, a tribute to the great Argentinean tango master Astor Piazzolla ("Piazzolla") and the waltz "Alpine Sunset" are beautiful tunes that highlight Saindon's strong compositional abilities.
- Terry O'Mahoney
Sounds Like
Ed Saindon Links: Ed Saindon's Official Website
Information on Ed Saindon's recordings, books, latest news, concert schedule, lessons... Recently added to the website: MP3 downloads, Ed's latest article "The Fulcrum Grip" written for the upcoming December issue of the Percussive Arts Society magazine Percussive Notes, Ed's original compositions (including compositions as played .. Play with Kenny Werner and Depth of Emotion with Dave Liebman) available for download in a PDF format.
Depth of Emotion
Page on Ed Saindon's latest recording which includes full track downloads, sample soundclips, liner notes, CD one sheet and a list of sites where to purchase or download the recording.
Exploration in Rhythm, Volume 1 - Rhythmic Phrasing in Improvisation
Information on Ed Saindon's recent book (for all instruments) published by Advance Music. The book focuses on playing "over the bar line" rhythms and long melodic phrases based upon rhythmic cycles that stretch over multiple measures. The book is now available in Japanese as well.
Endorsements:
"Finally, a comprehensive and organized approach to getting out of the eighth note rut - valuable advice from Ed Saindon on how to vary one's rhythmic approach." Dave Liebman
"Ed Saindon gives us a new book, Exploration in Rhythm, containing tons of useful information and great ideas to work on. This is a great resource for enhancing one's rhythmic facility and expression..." Dave Douglas
"Contemporary rhythmic tool box. A "must have" for the modern improvisor." Hal Crook
"The exercises in this book would be excellent for any improvisor to use as vehicles to practice different phrase possibilities. Drumset players will also find many ways to apply this book. The systematic approach will also help students organize their thinking about these rhythms and increase their understanding." Percussive Notes (Percussive Arts Society)
Ed Saindon's Vic Firth Artist Page
Ed Saindon's artist page on the Vic Firth wesbite featuring video excerpts from Ed Saindon's Percussive Arts Society 2006 clinic at the International Convention in Austin, Texas, (footage includes solo performances of "Black Orpheus", "Do You Know What It Means To Miss New Orleans?" and "Body & Soul"), videoclips of Ed Saindon and band performing at The Berklee Performance Center in Boston, MA for a concert titled Berklee Vibe Night (performances of "The Last Goodbye" and "The Healing" from Depth of Emotion), links to several of Ed's articles from The Percussive Arts Society's magazine Percussive Notes and soundclips of Ed Saindon's recording Key Play featuring pianist Kenny Werner and Ed Saindon on vibes in a duo format and 3 selections from Depth of Emotion with Dave Liebman.
Ed Saindon's YouTube Page
Large selection of footage featuring Ed Saindon in solo, duo and group performances. Recently added video footage includes: educational videoclips shot for The Vibes Workshop, clips from an October 27th, 2008 Berklee College of Music concert, a vibes and piano duo performance at the JazzSchool in Berkeley, California with pianist Dick Whittington, videoclips of an April 2nd concert (featuring compositions from Depth of Emotion) at The Berklee Performance Center in Boston.
Ed Saindon's Yamaha Artist Page
Vibes, Piano, Marimba & Drums
Coming from the “four mallet school,” Ed Saindon has developed and continues to refine a pianistic approach to mallet playing which involves a consistent utilization of all four mallets via a grip that he developed called the fulcrum grip. Saindon has absorbed and transferred the influences from the piano lineage that stretches from Art Tatum up to the present. Originally a drummer, Saindon began his studies at Berklee on drums with drummer and legendary educator Alan Dawson. He later took up playing the vibraphone along with piano while attending Berklee College of Music in Boston from 1972-1976.
Ed Saindon's previously released recordings include Key Play with pianist Kenny Werner, Swing on the Sunnyside with trumpeter Herb Pomeroy and clarinetist Dick Johnson and The Great American Songbook with clarinetist Ken Peplowski, cornetist Warren Vache and trombonist Dan Barrett. His recent recording from World Improvised Music is Depth of Emotion which features Dave Liebman on soprano and Saindon on vibes, marimba and piano along Mark Walker on drums and David Clark on acoustic bass.
As a concert artist, Saindon has traveled throughout the U.S., Europe, Brazil, Mexico and Japan. He has played and or recorded with Dave Liebman, Ken Peplowski, Warren Vache, Kenny Werner, Mick Goodrick, Fred Hersch, Peter Erskine, Jeff Hamilton, Louie Bellson, Howard Alden, Herb Pomeroy, Dick Johnson, Dave McKenna, Ed Thigpen, John Scofield, Marvin Stamm, George Masso, Michael Moore and others.
In addition to performing, Saindon’s other passion is music education. He is a Professor at Berklee where he has been teaching since 1976. He is also active in the field of music education as a clinician and author. Saindon is a clinician for Yamaha and Vic Firth giving clinics and residencies on vibraphone, marimba, piano, drums, jazz theory and harmony, composition and improvisation. Ed's books include Berklee Practice Method: Vibraphone published by Berklee Press and Exploration in Rhythm, Volume 1, Rhythmic Phrasing in Improvisation published by German publisher Advance Musice. The second book in that series is Advanced Rhythms in Improvisation scheduled to be released in October 2009 by Advance Music.
In addition to writing books, Saindon has authored many articles on music education, jazz theory and improvisation. He is currently the vibraphone and jazz mallet editor for the International Percussive Arts Society’s magazine Percussive Notes. His articles have appeared in many publications including Downbeat, Percussive Notes, and Percussioner International. CD Review Excerpts:Jazz Times: “a master of the four mallet technique”
CD Review: “a marvelous technician”
Jazz Journal (UK) : "an astounding solo performance"
Penguin Guide to Jazz: "virtuosic playing"
Jazziz: “exquisite touch of a world-class musician”
All Music Guide: “elegant, pianistic, four mallet vibist”
Music on the Web: "Ed Saindon is indisputably a virtuoso 4 mallet vibe player."
Bill Bruford/Jazz Jury: "I was completely won round by this music of staggering ability. This is some serious music. Ed Saindon’s solo was just terrific..."
Ejazznews: "Saindon provides an exquisite piano solo on one of the very best renditions of the Mancini/Mercer classic, "Moon River" I’ve ever heard...Ed Saindon and Dave Liebman chart a new course in modern jazz that deserves serious attention."
JazzChicago.Net: "...he makes a compelling argument for gaining a wider audience for his brilliant work on the acoustic piano as well. The solo piano piece "Joyful Sorrow" is a perfect example of the emotional contrasts Saindon imbues his compositions with, deeply reflecting upon the very complexity of life itself."
JazzReview.com: “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.”
All Music Guide: "a lyrical and fairly accessible session for Saindon and Liebman, who are in equally strong form on this memorable disc."
Weekend Jazz (Japan): "Ed Saindon's piano playing is a blend between Bill Evans and Richie Bierach."
Down Beat: “an original approach to the vibraphone...Saindon has adapted and developed his self- styled pianistic approach.”
Percussive Notes: “over the years, Saindon has developed his “piano style” vibraphone technique…a wonderful tribute to the potential of the vibraphone.”
Vortex Jazz (UK): "Saindon’s vibes and marimba playing is tasteful but powerfully expressive, his piano pieces more quietly reflective; overall, this album provides an enjoyably representative sample of his considerable compositional and instrumental skills."
Hey Ed!!! How are you Man???? Happy birthday :-) I hope you are doing well! I hope to come in Boston soon!!!!! unfortunately I could not come this fall because I had a lot a of concerts...but I will make it soon! Ciao Marco
It took over a year to design the mallet, but my new signature model mallet from Vic Firth is now available. The mallet features a weighted core, four layers of varying latex and tightly wrapped thin yarn. I was looking to create an all purpose mallet for vibes and marimba that sounded good from playing solo to performing with a band. The mallet creates a very big sound, sounds fat and round while still retaining clarity at all dynamic levels. To check out the sound of the mallets, listen to the songs with Dave Liebman, Matt Wilson and David Clark that are on my playlist on MySpace. The concert took place right around when we finalized the mallets for Vic Firth. I was pleased with how the mallets sounded backing up Lieb's tenor as well as on the trio tune titled "Pure Spirit". I was looking for a mallet that had a depth, clarity and fullness in order to comp behind tenor. Also, in order for a trio with vibes, bass and drums to sound full and complete, I think it's important that the mallets sound fat and full as well as having good clarity. For more details and where to purchase, please go here: 
To use a cliché, Dave Liebman is a “musician’s musician.” Fluent on tenor and soprano saxophones as well as flute, alto flute, keyboards and drums, Liebman has carved a highly creative career that has spanned more than 40 years and has crossed genres from contemporary rock with Ten Wheel Drive to the bands of jazz greats Elvin Jones, Miles Davis and Chick Corea in the 1970s.
Strongly influenced by the spirit and music of John Coltrane, Liebman has recorded dozens of albums under his own name and has appeared on albums by Jones, Davis, Bob Moses and John McNeil, to name a few of many. Today, Liebman is involved in several group projects, including his ongoing bands Quest and the Dave Liebman Group as well as the cooperative band Saxophone Summit with saxophonists Joe Lovano and Ravi Coltrane. He is also active as an educator and author, having written several books on the art of improvisation. I spoke with Liebman via phone recently and touched on a wide range of points from his career.
So, how did you become involved with Ed Saindon’s CD project?
Liebman: Ed called me a few years ago and mentioned he had recently recorded a project with (pianist) Kenny Werner. Ed wanted to know if I would be interested in a quartet project he was working on with new music he was writing. I knew of Ed’s ability as a vibes player, so I told him that I would be up for taking part. He called me again about a year ago and I went up and we put the recording down in one day of work.
The music has a very open sound, especially with the use of the vibes and soprano sax.
Liebman: Yeah, I really liked the sound of the two instruments together. It’s the first time I’d recorded with a vibes player, yet the music came together very naturally. And when Ed switched to the piano on some of the tracks, the music took on a different character.
The reworked versions of “On Green Dolphin Street” and “Moon River”—were those Ed’s specific arrangements or were they conceived by the group as a whole in the studio?
Liebman: They were Ed’s arrangements, and they were very imaginative.
Do you like rearranging older tunes?
Liebman: Definitely. I know there are those who frown on the idea, who think that standards should be played the way they always are played. Personally, I think that reworking standards gives them a renewed freshness and liveliness that allows for new modes of creative expression for the player.
In light of what you said about recording the CD in one day, I have to say that there is a high level of interaction throughout the disc. It sounds as if the band had been on the road playing the tunes for a long time before you went into the studio.
Liebman: Thanks. There was very little that needed to be said in terms of the music. Ed gave us a general idea of the vibe of each piece and we all took it from there. It just came together in a very creative and positive way.
