Visiting the Shimura Shakuhachi Museum

Members of the Koten-shakuhachi-kenkyū-kai, or Society for the Study of Classical Shakuhachi visited the Shimura Shakuhachi Museum in Osaka.

A 2.0 Kogetsu from the personal collection of Higuchi Taizan. 
Gyokusui III looks on in the background.  
Komuso Mutake prepares to play an unusual chokan of Genpu Iwazimu, a komuso from the Taishō period (1912-1926)

Playing a shakuhachi made by Watazumi, 
a master particularly revered in the West.

A 6.0 shakuhachi of Genpu Iwazimu.  So much caught the attention 
of those present that several makers afterward crafted their own 6.0s!

Partially in view on the table, an old Myoan shakuhachi by maker
Kondō Sōetsu and its 3D printer reproduction in yellow, which was 
very light and nearly as resonant.

Gyokusui III Towari Jinashi

The table of shakuhachi at the maker Gyokusui III Osaka  

These five shakuhachi on the left are wide bore jinashi towari 1.8s in the key of C#.  An ideogram and kanji hanko by the thumbhole, and a second ideogram stamped toward the lower node of the shakuhachi are the identifiers of this Myoan style instrument.  Also in the photo are boxes of recorder-like adapters for people who have never played shakuhachi, to appreciate the sound back home in the states before they start their practice of developing a proper embouchure.  One's embouchure adds much tonal character.

Nara Komuso Mutake demonstrates an exceptional tonal character on an extreme large bore 1.8 jinashi shakuhachi.

The Shakuhachi of Hisamatsu Fūyō

Dakkaku

Up for auction the price was 10 million Yen about 20 years ago.

Dakkaku translates as shed shell.  Perhaps Fuyo wanted his student to develop or transform by shakuhachi similar to a being shedding its skin.

Considered one of the greatest players and makers of his era.

Myōan-dōshō go-eisan--hymn to the Myoan Shakuhachi

The tanka-poem by Tanikita Muchiku has been made into a Buddhist song that can sometimes be heard accompanied by shakuhachi at Myoan-ji.

Yo no naka no 

Uki-fushi nukeshi

Fue-take no

Koe ni hohoemu

Waga kokoro kana.

something close to a literal translation:

The world's sorrows have been taken away.

To my flute-bamboo's voice 
smiles my heart.

It contains a word-play: Uki-fushi means the sorrows of the world, but fushi also can be the fushi (nodes) within bamboo. Taking the fushi or nodes out of the bamboo that the air goes through is compared to taking away the sorrows of the world. 

The actual performance of the song Is similar to the melody, the speed and rhythm of this Soto school song.

https://www.youtube.com/watch?v=GSIXlcLB87M

Thanks to Professor Oliver Aumann for the translation and commentary.

Two Komuso at Muroji Temple

Muroji--When Two Komuso Meet

On the road to Muroji, one of the most scenic mountain temples in Japan

J.R. Mutake plays at the moon bridge entrance to the Muroji grounds

Crossing over into Muroji.

Playing at the first gate.

Playing on the path to the main gate.

The ticket office.  Note the container of free hiking sticks at the corner. 

The main gate of Muroji.

J.R. Mutake introduces himself to Masutani Showza, resident komuso of Muroji.

The honkyoku played. please click through to youtube video.

Looking back at the gate.

Climbing the first set of stairs.  J.R. Mutake will climb the mountain with a tengai in one hand and a shakuhachi in the other, as part of his Shugyo training.

Looking back on the first flight of stairs.

Another flight of stairs.

Which leads to another flight of stairs down...

Looking back up.

Side trip to a Jizo Shrine.

Jizo

And then the long flight to the peak.

The support beams of the moutain top temple in sight.

The view from the balcony.

Panorama of the temple support and final climb.

Back down sure-footed like a mountain goat and out the gate.

Overview of the climb.

Leaving Muroji at the bus stop, visitors asked the Komuso to play.

Please visit komuso Masutani Shoza at beautiful Muroji.

The Komuso play beautifully, please contribute for the temple.