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Ted Pease

Primary Instrument: Drums

Born: May 17, 1939    

Ted Pease

After earning a liberal arts degree at Cornell University in 1961, Ted came to Boston to study at Berklee with legendary drummer Alan Dawson. It wasn’t long before Ted found himself performing with the likes of Herb Pomeroy, Jack Peterson, John LaPorta, Gary Burton, Mick Goodrick, Ray Santisi, and other Boston jazz stalwarts in Boston area dance and jazz bands. His Berklee studies with Herb Pomeroy also resulted in a burgeoning interest in composing and arranging.

Ted began teaching harmony and arranging classes at Berklee in 1964. With enrollment at Berklee expanding rapidly in the late 1960s, Ted found himself in the forefront of curriculum organization and revision. In the 1970s, he became chairman of Berklee’s arranging department and subsequently chairman of the entire Professional Writing Division. Noteworthy students who came through Berklee during this time included Alf Clausen, Gary Anderson, Abraham Laboriel, George Garzone, Jerry Bergonzi, Jaxon Stock, Hal Crook, and Rob Mounsey....
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Awards

National Endowment for the Arts (2)
”On Balance, Big and Phat impresses” (Bob Blumenthal, Boston Globe 1/30/02)....”The group was at its most impressive on original compositions by local writers. Ted Pease contributed two titles. 'Are You Ready?' was an aggressive conjunction of the various sections around a trombone lead in which the horns continued to explode behind the solos of tenor saxophonist Jason Hunter and trumpeter Dave Rezek. In 'The Usual Suspects,' soulful strains were submerged in another thick ensemble weave. Lighter touches, including a muted-trumpet/soprano sax unison and a brief interlude of murmuring brass, added textures that effectively launched pianist Joe Mulholland and Hunter into their improvisations.”

“Berklee family gives spirited salute to Pomeroy” (Kevin Lowenthal, Boston Globe 4/4/08)…. “An early highlight was Ted Pease’s ‘Five Flats for Herb,’ a simple blues showcasing the orchestra’s trumpet players, each representing an aspect of Pomeroy’s musical personality. Three trumpeters stood at the front of the stage, soloing in turn, backed by creamy reeds. Niv Toar played the growling, plunger-muted trumpet role; Max Miller-Loran used a Harmon mute for the buzzing part; and Jeremy Sinclair manned the mellow flugelhorn. The three voices began to converge, trading successively shorter phrases. Then, suddenly, from the highest riser at the rear of the stage, the soaring lead trumpet of Casey Brefka took over. The tune ended with the first three voices once more merged.”

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