In a nod to my favorite comedian, Bill Cosby: “I started out as a child…”
I started drumming as early as I can remember. I remember the Christmas when my mom bought my first drum set; it had pictures of Bugs Bunny on the drum heads, which were made of paper. I destroyed it before Christmas day was even over. Not much has changed since then. I still bang on stuff until it’s destroyed. I’ve never not felt the need to create rhythm. If I’m ever asked who I am the first response that comes to mind is: “I’m a drummer.” I imagine it will always be that way.
I began my formal training in drum and bugle corps when I was eight years old. I marched for one year with a corps from Quincy, MA, called The Renegades. We played “Land of Make Believe” by Chuck Mangione and “The Wedding Song (There Is Love)” by Paul Stookey. It was an interesting place for an eight-year old, as most of the members of the corps were considerably older. I played cymbals, and started learning to play snare drum with traditional grip. Unfortunately, The Renegades ran into financial difficulties (as is all too common for drum corps) and they ceased operations the following year.
After a year away from marching I joined a corps from Weymouth, MA, named St. Francis Xavier Sancians. I would end up marching with the Sancians from 1981 through 1987, when the Sancians, like The Renegades before them, went inactive. Marching with the Sancians was one of the most incredible times of learning and growth in my life. I studied with great teachers like Bob Delaney, Sr., Dave Flahive, Pete Phyllis, Dave Cavanaugh, and Jack Cash. I got to play incredible music such as “El Gato Triste” by Chuck Mangione, “Back to the Future” by Alan Silvestri, “Incantation and Dance” by John Barnes Chance, “Prologue” and “Day of the Dreamer” by Renaissance, “Masque” and “Divergents” by W. Francis McBeth, “Truly” by Lionel Richie, and “Somewhere Out There” by Linda Ronstadt and James Ingram. I switched from traditional to match grip during this period, and I developed greatly as a player. I played bass drum from 1981-1982, snare drum from 1983-1986, and multi-tenor in 1987. While with the Sancians I traveled extensively in the northeastern part of the United States. My Sancians career was highlighted by many local and regional titles, as well two Drum Corps International Class A-60 (now “Division III”) World Championships in 1985 and 1986.
While I was marching in drum corps I started playing the drum set, but my heart was still with marching percussion. I was in the concert band in 7th and 8th grades, and joined the jazz band in 8th grade. Along with the normal school concerts I was a member of the pit band for my Junior High School’s production of “Bye Bye Birdie.” I also started taking lessons at Dick DiCenso’s Drum Shop during this period, which is where I now have the pleasure of being a member of the teaching staff. I studied for several years with Vance Gordon, who remains on the teaching staff at DiCenso’s to this day.
My influences during this period were limited to mostly the way drum lines sounded and Neil Peart from Rush.
My drum set career started shortly after my drum and bugle career ended. I played with several bands consisting of friends from school. Some of the results were promising, but most were obviously just a bunch of kids who weren’t ready for prime time. Finally I developed a relationship with guitarist Steve Marchena, and he and I have remained great friends and musical soul-mates ever since.
My first band that had actual performances was called “Ultraviolet.” The band consisted of Andrew Phillips (aka Andaru Scrub) (R.I.P.) – vocals; Steve Marchena – guitars; Ben Cable – bass; and me on drums. The band didn’t last too long in that form. Soon we had a new singer, Paul O’Neil, and a new name: “Sex and Witchcraft.” We played an interesting blend of metal, folk, and progressive rock. We performed extensively in the South Shore and Metro West areas surrounding Boston, MA. Sex and Witchcraft regularly performed at such clubs as Derringer’s in Brockton, MA, and Shadows in Mendon, MA. The band also played at Edible Rex in Billerica, Grover’s in Beverly, and many other local and regional clubs. A couple of my favorite gigs from that time period happened at a very cool club in Old Town, Maine. We were just young kids playing music we loved and having a great time. We recorded a self-titled Demo tape (hear a tune from the tape here) in early 1991 which was reviewed (positively and not) by several local papers. Unfortunately, as most bands do, Sex and Witchcraft broke up in early 1992.
By this time I had fallen completely under the spell of John Bonham, the legendary drummer with Led Zeppelin. I also discovered jazz piano legend McCoy Tyner. I went to see McCoy Tyner probably twenty times over a three year stretch at the Regattabar in Cambridge, MA. I also discovered a new type of music: “Fusion.” I became (and remain) totally compelled by the idea of marrying the energy and intensity of rock with the creativity and technical proficiency of jazz.
I stopped performing as much around 1992 and decided to try my hand at running a music store. The store was called “Upbeats, Percussion, etc…” and was located in Avon, MA. It lasted from about 1992 through 1995. I learned a lot from my time owning and running a store. The first is that I really love teaching. The second is that I really hate selling things. The store made no money (actually we lost a bunch), but it was fun while it lasted. I think the best thing about having had the store was that it made me realize where my strengths and weaknesses lie. I think most people have to get into their thirties before they realize a lot of the things that I learned during those three years in my mid twenties. So, as much as my store closing was a sad experience to go through, I look at the whole experience of owning the store as a major positive experience in my life.
While the store was open, it suddenly dawned on me that one of the best music colleges in the world, Berklee College of Music, was basically in my backyard. I applied for Berklee in August of 1994 and in a whirlwind process I was accepted for classes that September. I spent four wonderful years at Berklee. I met musicians from all over the world, studied with amazing teachers, and learned so much that I’m still processing some of my lessons to this day. I majored in Traditional Composition, because I considered music theory to be my biggest weakness and I wanted to improve on my weaknesses the most. I study with wonderful composers such as Thomas McGah, Dennis Leclaire, Scott Fessler, and Tibor Pusztai. I was honored by Berklee with a Youth Concerts at Symphony Hall Award during my senior year, 1998. While at Berklee I also continued my drum set studies by taking lessons and / or classes with Ed Kaspik, Skip Hadden, and Dave Weigert. I also learned a totally new instrument for me, the marimba, under the amazing tutelage of the fabulous marimbist Nancy Zeltsman.
During my time at Berklee I rekindled my performing relationship with Steve Marchena. We got together with a new bass player, Michael Figueirido, and formed an instrumental fusion band called “The Humungusfungusamungus.” This band didn’t perform too much, but we really expanded each others abilities at improvisation. We played tunes by John Coltrane, Jack DeJohnette, Miles Davis, and Al DiMeola. We never wrote our own material, though, and that is still a regret I have about this band.
In late 2000 Steve and I started playing with a new bass player named Chris Urban. Our new instrumental iteration became known as “Hypaspace.” Hypaspace has a bit more of a rock edge than The Humungusfungusamungus did, but it is still music that is very focused on improvisation. Since Hypaspace formed, we have performed extensively, including a tour of British Columbia, Canada, in 2001, a tour of the Midwest in 2008, and many mini-tours of the northeastern part of the United States. We have recorded three CDs of original music. Hypaspace continues to play several shows every month, and has proven to be both musically and personally very satisfying.
I began the latest version of my other ongoing love, teaching drum set, at Dick DiCenso’s Drum Shop in 2001. I subbed for other teachers for several months when they needed fill-ins, and by May, 2002, I was a on the staff of regular instructors at the shop. I’ve been teaching there ever since. I try to incorporate everything I have learned from all my diverse training and impart as much knowledge to each student as I can. Perhaps even more importantly, I attempt to foster in my students a love for the instrument that matches my own. I firmly believe that drumming can bring one a lifetime of joy, even if only done as a hobby. Rhythm is central to human life, and drummers take that rhythm and turn it into art.
In 2006 I found myself drumming in churches during Sunday worship. It gradually blossomed and since 2007 I have been a member of the Music Team at The Crossing, an Episcopal community in Boston, MA. I’m surprised to find myself drumming in a worship community, but it’s turned into an amazing fit, and is one of the highlights of every week.
Along the way I’ve taught more students than I can count, and performed and recorded with more wonderful artists than I could ever name. Performing with anti-folk artist Bryan McPherson for nearly two years was a rocket ride through the stars, and jamming with Jon Finn a few times as part of the Guitar Nights at Skybar in Somerville, MA was beyond humbling. Flying to Iowa to perform in Valerie Sneade’s cabaret show for elementary school kids and their parents was surreal and joyous. It’s been an amazing journey so far, and I can’t wait to see what happens next.
And, as important as I obviously believe drumming is, I have one thought to leave you with:
Q: What did the drummer get on her IQ test?
A: Drool.
Keep banging those sticks!
Hearts,
~~Penny
