Summer break is over!!

                                  The long break taken from summer's beginning till now is over!

The summer began with family related distractions that included my mother's cancer treatments, work on my photography business and an assortment of things. This seems to be a common thing with me and musical instruments, making it tough to really progress beyond the beginner stages to intermediate. So as usual, I immerse myself in the music, gaining back the desire and thrill that had
overtaken me before. Before you know it, I have returned to the place previously at. This is not a bad thing but not good either, certainly not positive. What I NEED is to have a daily practice routine that
takes my soul to another place. For two years I did this and enjoyed it.

Then, life and other interests creep in and there it goes. Add to this the hair dynamic. Yep, the hair dynamic. As has been mentioned before, adding lip facial hair to the appearance does NOT prove to be positive for playing. Simply put, it is difficult to get the embouchure right on the shakuhachi with a "soul" patch on my lower lip. But damn, I really like the look currently and need to practice and find a way around this. With my Celtic flute and whistles, this is never a problem at all. 

    So, now to work around this feature and make the shakuhachi sound good with said hirsute addition! This moustache combo is a mere 8 weeks old and isn't going anywhere for the time being. Time to accept it.


Well, there is an update. Now all I need to accomplish is a new calendar of practice times and get out the books, CD's and sheet music. Again, I am determined as usual, let's see how it goes.

Needed a break!

                                                       After the last post in March, things changed a wee bit with life and I took a much needed break from flute playing. Life can throw curve balls at one so the best way to deal with that requires adjustments and decisions. The flutes took a rest in their cases for almost two months and my focus went towards my mother and her cancer situation as well as genealogy and running. Admittedly, I have WAY too many interests that I try to devote time to and they need to be whittled down to a manageable number. But really, is that necessary? No, not at all. My focus simply needs to be on whatever I like at that moment. Having so many interests merely makes me a Seumas of all trades and master of none! Therefore, from now through the end of June, my dedicated focus will be shakuhachi, genealogy and Buddhist philosophy as well as running. And mum, of course. :-)

                                                          Shakuhachi wise, my task at hand is getting back to breathing exercises and maintaining a long Ro or Tsu pattern of at least 30 seconds with consistency as I have had some issues lately. My style and embouchure has changed a bit due to the growth of facial hair on my lip. Last month I mentioned how the look I enjoyed was causing some issues with sound production and embouchure obtain-ability. After some determined practice and experimentation, I found that I could indeed play with said hirsuteness and still maintain control. Granted, the level of sound volume and strength is not there as without the patch under my lip, but I shall work with this and see where it takes me. After all, many player including my former teacher, Larry Tyrrell have beards and facial hair in that area without issues. I just need to PRACTICE!

                                                            Music wise, my need to learn more songs and pieces is essential. I'm sad to be so horrible at this with only three small songs completed in all this time. I can improvise well, though , and therefore it has not been a waste of time. Larry's "The Alder Bough" and Koga's Shakuhachi manual will be ALL I delve into until I find I can move on further. Yes, as mentioned last year, "Tamuke" will still be the ultimate piece for me to learn. Still have my sights set on that!

Now....FOCUS!!! Do not let distractions sway me into doing other things. if is is shakuhachi related, that is fine to some degree. I still need to read the new book purchased in February: >>>>>>>>>

This I promise to do by the mid part of May and will report on soon. So many books, so little time!!


Now off I go to practice, read and stay away from electronic devices as much as I can without going insane!!

Springtime flute adventures!

                                                             In December I started to grow a moustache and patch to change up the look a we bit and really have enjoyed having them But, alas, they both completely affected my embouchure and blowing with the shakuhachi and the Celtic flute, making them unplayable and indeed a depressing thought. To NOT play my flutes and enjoy the music I love was simply not going to happen. It was tough to do but I shaved the combo off on Saturday evening and am smooth faced yet again.








What I WILL do this time is grow it back slowly and see at what point of growth the whiskers make the playing difficult. It could be that I'm able to have a few weeks growth and still maintain playability! Day one is starting today, 6 March 2017. Will update next blog post. :-{-)-








                                                              The newest addition to the study and playing guides is the Grey Larson volume on Irish flute and whistle. This successful and truly "essential" book has now found it's way to my collection affter a year of searching. Thank you Powell's Books!! The time is nigh to practice my a** off and get some songs under my belt. This has not been easy, primarily due to my own inability to schedule and stick to it. I have never been good at practicing no matter what instrument. The family tree/genealogy part has taken over a lot of the time I have. Now to readjust my schedule and time!! The Alder Bough by Larry Tyrrell is a great way to learn Celtic music on the shakuhachi!

New shakuhachi book!

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                             Admittedly, with all of the centuries of music, history and culture related to our favourite flute, there isn't a very extensive collection of books pertaining to it translated into English. Granted, just my personal opinion. Now, in Japanese, there are more options and volumes available to the player and aficionado. Some of us find every book that is available and add them to our libraries, enriching the knowledge as best we can.

                             So, a few weeks ago I noticed a post on the Facebook groups regarding a new book of shakuhachi history, entitled " Paintings of Bamboo Flutes: A History and Genealogy of Shakuhachi Performance", authored by Izumi Takeo and translated by Philip Flavin. The dealer for these here in the US was KSK North America, and I had an order in to them right away. After a few days, this handsome, no...downright beautiful, book was in my hands. Now, this happened right before the holidays and with family,work obligations, I didn't get a chance to sit down and thumb through it until this week. The plan is a thorough ready next week with a review right here on this blog. Until then, a brief look:

   
            The cover reminds me a lot of the book by Christopher Blasidel, which is one of my all time favourites. Inside I see numerous colour photos and paintings of the shakuhachi over the years in Japanese art. Everything is lined up well and simply magnificent! There are only 145 pages here but that is plenty for us to sink our teeth into.

                                                Here is the link to the distributor in North America:

                                                                         KSK North America


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Changing gears...

                                            As many know, my interest in music and playing instruments tends to vary depending on time of year and my always busy mind. One moment it is all about the shakuhachi, the next it is back to classical music and all that it offers. Still, again, it will drift to world music, especially Celtic music from Scotland, Ireland and Wales. This is where my heart and head seem to be right now, and I don't know for how long as I simply drift with the wind and go wherever my heart and musical soul take me. Although Celtic music is always with me due to being part of my heritage and blood, right now I'm studying Welsh and Scottish Gaelic, so it seems apropos.

                                            In addition to the love of the music itself, my desire to admire the instruments themselves is a big part. Therefore, I have collected a few whistles and flutes that are used in this most lush and beautiful genre of music. Here is a shot of the whistles I currently own, which include( top to bottom) models from Walton, Clark, Tony Dixon, Feadóg and Oak:

                                               They are in either C or D and play well. The Tony Dixon and Feadóg are my favourites for sure with the best play-ability and the Oak a close second.




The newest, the Tony Dixon whistle in D, is amazing and I'd love to get a Low D flute from his lineup as well. So many Celtic pieces use the whistle or flute (Irish or other) and my sheet music/book lineup has grown a wee bit.






As for the flutes themselves, I have two Celtic flutes, built by Michael Howard of Kolbe Flutes;

The primary flute is a beautiful flute made of bamboo and in a key of C.
Second is the more simple but delightful bamboo flute in D that takes a bit more air but sounds great.











                                                I have a LOT of work to do on these flutes and hope to advance a bit more in 2017 with some songs and abilities to play in a Session in Portland soon. There are a few Irish/Scottish pubs in Portland that have music sessions for Celtic music, with performers from all over the region. Add in a few pints and it is like those I've visited in the UK, where families and musicians come together to celebrate their roots and heritage as well as imbibe a bit.Should be fun!

Till then, more practice and study of the literature and music of my ancestors and culture.

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Tone colors of Autumn: A concert of Japanese flute music-Review

                                       This last Friday, the 28th of October, 2016, Pacific Northwest shakuhachi lovers as well as those interested in Japanese music in general were treated to a rare concert at the Seattle Asian Art Museum. Many of us were thrilled quite a few months ago at the announcement of this event which would feature some of the world's best shakuhachi players and this night was to prove a delightful one indeed. Featured on this program were Matama Kazushi, Furuyu Teruo, Kakizakai Kaoru, Larry Tyrrell and Koto player, Mitsuki Dazai.

                                         
                                           On a beautiful autumn evening, surrounded by the stunning colours of the season, these superb musicians charmed and amazed us with their sounds and techniques. The concert started with " Tabibito no Uta" played by Kakizakai , followed by Matama's performance of

" Takiochi". 

The acoustics in this hall were excellent and did not disappoint the audience (close to 100) at all. After these two opening pieces, the stage was now ready for duets with Mitsuki Dazai on the Koto and Feruyu on the shakuhachi, playing Yumeji Modan #1 and #3. The koto and shakuhachi duet were to blend brilliantly in these pieces that simply do not get played nor heard enough outside of Japan. Fortunately, (this all too short series of concerts by these artists) we have the opportunity to hear these now and hopefully in the future again! The lighting in the hall was adequate for higher end cameras and if closer, I might have been able to snap better photos. But the music was my primary reason for sitting in the middle back part of the hall, so alas, these photos were taken from my phone. Pardon the blur and un-professional quality of them, but I'm glad to have been able to do it nonetheless. Below is a photo of the duets Yumeji Modan #1 and #3!



                                           Next on the program was a work by Rando Fukuda and played by the Pacific Northwest's own master, Larry Tyrrell. As amazing musician and shakuhachi player, Larry has also been a dedicated teacher in both the Seattle and Portland areas. I had the privilege of being his student for a time a few years back and learned much from him. This piece was played wonderfully and covered a wide range of tonal qualities!
                   

                                                           The piece " Makiri" by Katsuya Yokoyama was next on the program, this played by Matama Kazushi. Again, the tonal colours and range were amazing and further solidified within myself yet another reason I decided to learn and devote part of my life to this incredible flute.
                                                                    After the sounds from this grand piece settled inside of us, the time had approached for a World Premier piece, composed by Larry Tyrrell. This trio entitled "The Mountains Remain" was simply stunning in it's composition and proved to be satisfying in harmony and depth, making our consonance minded ears and hearts happy.

                                                                       Hopefully this composition will find it's way on to a CD or recording soon as the world deserves to hear it again and again! This photo is just after it's premier, with Larry Tyrrell on the right off stage, receiving accolades and thanks for this piece.

                                                                        After a brief intermission, the concert resumed with "Kikyou Gensou Kyoku", performed by Teruo Furuya . Then followed by one of my favourite honkyoku pieces, "San' An", played by Kaoru Kakizakai . Legend has it that komuso, or mendicant Zen Buddhist monks, would play this piece to pregnant women for the safe birth of their children. It is a very well known and wonderful piece of classic Japanese shakuhachi music and this perfomance certainly didn't disappoint. Kakizakai played it with such intensity and sheer poetry that your humble writer and player became gleefully and happily lost in it's tone and eloquence. The honkyoku pieces are my favourites , always will be, and "San'An" will be with us for a thousand more years.

                                                                        The last piece on the program was the trio "Wadatsumi no Iroko no Miya" by Rando Fukuda and arranged by Tomiko Kojiba. Again, an outstanding trio piece and one that was thought to be the feather in the cap of this concert. This was not the case as we were treated to yet another piece as an encore, this also composed by Larry Tyrrell. Based on "The Twice Married Daughter", this trio is entitled "Bretagne Variations", a North American premier and was yet another delight that didn't disappoint. What a way to round out the evening! We need more shakuhachi concerts like this!!

After the concert, I had the privilege of a brief conversation with these delightful artists and to thank them for their amazing contribution to the shakuhachi, Japanese music and the arts in general. Two years ago I had the fortune to attend the Seattle Matsuri and classes with both Larry Tyrrell and Kaoru Kakizakai as well, allowing me to examine and learn from the inner workings of these world class musicians. I hope to do this again sometime in the future.

The tour by the KSK Trio will continue this Wednesday,
 KSK Trio in Portland
and then continuing on to Colorado and California.
If you are able to attend one of these concerts, please do so in support of the artists and also The Japan Foundation.

Many thanks to the musicians and especially my sweetheart Dena who graciously put up with me this last weekend and my love of the shakuhachi and it's world. :-) <3

Breathe!!

                As shakuhachi players, or flute and woodwind players in general, we all know how important breathing is and the capacity involved. Sure, some flutes and instruments are easier when it comes to blowing, depending on the reed or method. A fipple style Native American flute or a whistle is a LOT easier to play, as one simply blows. But, that doesn't mean breathing is unimportant. It is just that one can concentrate on the sounds and music easier w/o worrying about an embouchere.

                 This is why I believe the shakuhachi and other instruments with a needed embouchere are so much more difficult. When I started to play Native American rim blown flutes back in 2010, it was quite the learning experience for me. It most definitely gave me a high appreciation of the artisty, dedication and hard work that is needed by players. And while I was able to learn the embouchere on all of my flutes and can attain it right away, that means nothing unless the music comes forth.

   So, this means I need to work on this MUCH more than I have. And that is where I want to focus my practice right now. Songs that I know, and there are only a few, can be used for this. but learning new material will take a back seat while I play Ro or Tsu for longer sessions and get my capacity worked up to longer than 30 seconds.

                      THAT...is what i will be devoting my practice to for the rest of the year!