Ensembles
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Darren Barrett, Associate Professor
DEPARTMENT : Ensemble Department"My time at Berklee was extremely nurturing. The atmosphere was so inspiring, everyone working so hard to really be able to play at the highest level possible. Antonio Hart and I were roommates for a period, and did a lot of playing together, and grew together. In 1988, my curiosity was piqued by electronic music, programming, and synthesis. I dedicated time learning how to program drum machines and synthesizers, and started learning how to produce popular music."
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Alain Mallet, Associate Professor
DEPARTMENT : Ensemble Department- Performances with Phil Woods, Paul Simon, Paquito D'Rivera, Marc Johnson, and Madeleine Peyroux
- Critically acclaimed producer for his work with Jonatha Brooke
- Original compositions have been recorded by jazz greats such as Gary Burton, Dave Samuels and Paquito D'Rivera
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Alonzo Harris, Assistant Professor
DEPARTMENT : Ensemble Department"I'm there to help my students become what they want to be, whatever that is. I think it's our job as teachers to try to provide options as much as we can, because you don't know what's out there. You like to sing, but don't really like to perform? Well, you could be a session singer. You like to write songs? You don't have to sing your own songs; you can write songs for other people and get a publishing deal. There are all kinds of things you can do to be a successful musician."
Read MoreMark Copeland, Assistant Professor
DEPARTMENT : Ensemble Department- B.M., Contemporary Writing and Production, Berklee College of Music
- Pianist, organist, and keyboardist
- Producer, composer, arranger, songwriter, and educator
- Performances with Al Jarreau, Kirk Whalum, Marcus Miller, George Duke, Bobby Lyle, Walter Beasley, Christian McBride, Roy Hargrove, Cyrus Chestnut, Benny Green, Patti LaBelle, Yolanda Adams, and more
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Bruno Raberg, Professor
DEPARTMENT : Ensemble Department"The hallmark of a good bassist is knowing the foundation of both your own instrument and the music—understanding your own playing but also the role of your instrument within a group, how to interact and listen. In my teaching I make sure to cover all those aspects."
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Winston Maccow, Associate Professor
DEPARTMENT : Ensemble Department"What I try to get out my class is leaders. Everyone’s supposed to lead, everyone. I put people on the spot just to see how they’re paying attention to things. I’ll say, 'Okay, next week, I want you to lead.' Or I don’t even say that. I just say, 'You’re going to lead today.' In my class, you’re always on your toes. It’s the only way to develop leadership. You’ve got to be on your toes in the real world."
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Dennis Cecere, Professor
DEPARTMENT : Ensemble Department"I teach the ensemble that plays for the Song Demo Production class. Their goal for the semester is to sound like a band that's played together their whole life, from the first note to the last, the first time through. I don't allow them to see any of the music until they walk into the studio. I set it up like this: If you're going to become a studio musician, this is how it's going to happen, and this is how you're going to have to deal with it."
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Jetro Da Silva, Professor
DEPARTMENT : Ensemble Department"A professional musician must approach gigs in a businesslike way. The thing is not only to get the call, but to get the call back. As a sideman, I am there to follow instructions from the music director and satisfy the artist. If I am the music director, my job is to make the artist comfortable and ensure that my team supports the artist musically and emotionally. I'm not there to jam. I do my job well, regardless of whether I am playing the easiest or the hardest piece of music. A true professional musician has the ability to play a triad, minor seven flat five chord, or even a sus sharp eleven with the same intensity."
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Bob Lada, Associate Professor
DEPARTMENT : Ensemble Department"I've been teaching the Alexander Technique for the last 20 years. The Alexander Technique concerns itself with how you do what you do. We try to have you move as easily and freely as possible while making your music. We call that difference 'use': how you use yourself as an instrument. My belief is that the more you perform in a healthy manner, the better your sound will be. I've certainly seen it demonstrated."
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Brian "Raydar" Ellis, Instructor
DEPARTMENT : Ensemble Department"My whole goal with Hip-Hop Ensemble is to blur the line. Right now, the perception of hip-hop is a standoff. It really comes down to a debate over what a musician is. Some people think pushing buttons isn't being a musician, it's production. But there's validity in the music I'm making. I'll have students playing samples live, like an instrument, as if they were playing a piano. For me, a rapper with a DJ is not any different from someone singing and someone else playing a guitar. It's voice and an instrument."
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