Sunday, December 16, 2012
Sunday, December 9, 2012
Saturday, November 24, 2012
* * * * *
What we must pay utmost attention to is how to produce a variety of timbre from one note. What is most important is timbre. And this I think separates shakuhachi from other music. It is all about timbre, basically. -- Shozan Tanabe
|Shozan Tanabe playing in the House of Torin (Torin-in) circa 2000 A.D.|
Sunday, November 11, 2012
Sunday, October 28, 2012
Sunday, August 26, 2012
My teacher Morimasa Horiuchi Sensei in the mid-1960s used to play shakuhachi with his Sensei Tominomori Kyozan and on occasion an old shaven-headed monk, the head priest of Shinnyo-ji Temple, who made his own bamboo flutes and other works of art.
When the old monk heard that Mori-san was moving to America, he generously presented my teacher with a going-away gift, his shakuhachi made by the Shin-ryu that was stamped with the kanji Shin, or Truth.
The old monk also gave Mori-san his ink brush drawing of Daruma, or Bodhidharma, the Indian monk who transmitted Zen to China in the sixth century and began the first physical training of the Shaolin monks.
The jinashi bamboo nodes remain in the instrument bore refinements.
A meticulous method of tuning the flute for tone and pitch, slowly and minutely shaving tiny bits of bamboo out of the bore.
Nearly 50 years later, the monk/artist with the generous and kind spirit is still fondly remembered.