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Many people have asked why this magazine -- and in particular, its audio format -- came about.
Because I have been a clinician for the past four years and have sponsored tours throughout Europe and Canada, I have been privileged to meet many percussionists, teachers and performers and especially, aspiring students who came together with one serious objective and that was, to learn more about percussion. Since I was not known as a player, they always asked the same question, "Can you play what you write in your books?" and another favorite was, "Through what kind of technique does Steve or Vinnie or Billy, et cetera play this or that?" Other professionals, authors and teachers and clinicians, also met with the same questions. After some serious thought, I rejected the idea of writing another book with an audio cassette because there are many such books that "speculate" on other famous players' performing. I thought a more natural and pure way to communicate with percussionists was to gather the performers and teachers that "are" the percussion specialists from all styles, for all percussion instruments and cultures, to all write in one book and to play what they write on cassette. And, in addition, to include in this book interviews with deserving personages of percussion to bring to light their philosophy, their message, their mission in the music business and thus help aspiring students to not only be aware of these personages' feelings but to also grow through their experience which they are all so eager to share.
And just as good artists have spent time in studying to develop their quality, the industry has also so to come about. People that came, come or will come out with a different product are people that are used to doing something well and who are not selfish because they care about the next percussionist. They are not just business people. They are wrapped up in their art -- to make a good product for the betterment of percussion and percussionist. Percussioner International wants to show these industrial people for what they are and for the art that does go into every good percussion instrument made.
The name of th magazine is Percussioner International Audio Magazine and P.I. will live up to that second word, international, and try to make percussionists aware of music products, instruments, schools, whatever and wherever from even the remotest place. And, it is P.I.'s desire to give as much a variety of music, styles and instruments as possible to the world of percussion.
Percussioner International thanks God that the contributing writers, the featured artists and the caring industrial people have open minds (after all, that is what this profession is all about) and helped to bring about this first issue. Any idea no matter how great, without people's help would be very difficult to succeed.
Percussioner International has many messages within its pages but one hope above all from its editor and founder is that inspiration is derived from its writings and that percussionist use this magazine to the best of their knowledge so that even more ideas will develop.
And now I will let Percussioner International speak for itself (and it really does!).
-- Sal Sofia
Percussioner International Vol 1, Number 1. June 1984. P.I. INTERVIEWS Steve Gadd, Ralph MacDonald, Dave Samuels, John Beck, Trichy Sankaran, Sabian, Calato, Slingerland, Eastman School of Music. P.I. GUEST SPEAKER Eddie Gomez. P.I. SEMINARS John Beck, John Bergamo, Gary Chaffee, Jim Chapin, Swapan Chaudhuri, Anthony Cirone, Justin DiCioccio, David Friedman, Norbert Goldberg, Emil Richards, Kobla & Alfred Ladzekpo, David Garibaldi, Ralph Humphrey, Tangerine k. Hill, David Samuels, Trichy Sankaran, Sal Sofia. P.I. GIVING IT TO YOU STRAIGHT Ralph LaFemina.