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As the concert was about to begin, the performers walked to the front of the room to await their cue to start. Looking like they were headed to a funeral, the students were dressed in all black, which would be a contrast to the lively and colorful music they would soon be performing.

After thanking the audience for coming to his students’ first performance in the Center for the Arts, Director Tad Carpenter jumped into the first performance, “Bossa Novacaine.” The number had a nice beat and a Caribbean feel.

Carpenter joined the ensemble for two numbers to fill the place of students who couldn’t make it.

The first number he played was “A la Nanigo.” He played cowbells, which were loud and dramatic. That seemed appropriate when considering that Mitchell Peters, who plays at the Los Angeles Phil Harmonic, wrote it.

The next number he joined was the longest and most exciting performance, “Suite for Solo Drum Set” and “Percussion Ensemble.” The number was loud with a beat that made you want to get up and dance. The rhythm flowed from fast to slow, back and forth.

“It was a little hectic getting started this semester because [it’s] a new building,” said Carpenter. “But once we got moving, things fell into place really quickly.”

A standout in “The Suite for Drums” piece was Blair McGlory on the drum set according to Michele Ramos’, biological chemistry.

“The drummer, Blair, he’s amazing. It really featured him in that piece and it really brought it together.”

Close to the end of the number, the ensemble stopped playing for McGlory to give an intense drum solo that the audience couldn’t help but start clapping for.

McGlory came to PCC from Berklee College of Music in Boston and has enjoyed his time here so far. “It was a great opportunity to play drum set in this scenario because it’s not something I’m used to doing,” he said. “I did as best as I could for as much as I prepared for.”

A number that was unique was the closing piece, “Technology.” It flowed back and forth between loud and soft, creating a nice beat. It was obvious that you were listening to a piece that came from today in the digital age.

Cindy Lucio, psychology, enjoyed the ensemble as a whole.

“I feel like there was a lot of positive vibes going on,” Lucio said.

Two numbers that had a great dance beats were “Dun’t Be Blue Mon” and “Samba De Verao.”

“Dun’t Be Blue Mon,” had a Jamaican sound and was also the only number that added a bass guitar since the other instruments were unable to hit notes low enough.

“Samba De Verao” was a very happy, upbeat number. It had that Latin flavor straight Brazil but was right here at PCC.

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