尺八 – Komuso and the Shakuhachi-Do

The way of Chan and the 尺八 Tao

Since becoming a Chan “priest” I have been on a search for meaning a purpose for it, for me. Not the standard idea, actions, path. But how to express the label, the responsiblity, the vows, the “weight” in a way that gives meaning to my spirit. Some purposeful outlet for the title, the mantel, honor the linage. My Martial path under different circumstances would be ideal. IF I was in the States or even maybe Mexico or Canada, I could establish myself, my expression of the Chan Dharma, fairly easy…so to speak. Here is Japan, no. The ground is not fertile, over planted. There are many many Tai Chi “clubs’ who’s teachers speak Japanese. Kung Fu, well, that is not a real interest in the land of Karate, even less so here in the countryside, and “burbs”. The few that have expressed interest fade after a few classes, for what ever reason. Let’s just say they do not have the spirit for the effort involved.

When speaking of Meditation (Zazen here), that gives rise to the wall staring hardcore Japanese version of Zen. People have that fixed idea about it. So having a more low-key yet more encompassing holistic approach to Zazen is not understood. Education takes time.


I expressed to a recent new friend, who speaks English, that I wanted to become a Komuso and why. Historically from what is written, the komuso, did little in the way of actual Buddhist practice. Perhaps a few, however what most stands out about them is they just wandered around earning food by playing shakuhachi and the shakuhachi was their tool for enlightenment. Their practice was really all about themselves. Few were actual Buddhist priest. The “aura” that is around Komuso these days is romantic history. 
Komuso these days are more organized, but still from what feedback I am getting it is still just about the playing and themselves. The playing as a social gathering club, or for some as a meditation tool, some for just the music. Then there is my Komuso Sempai in Nara. He is all about being a true “Buddhist Priest” Komuso. It has been educational and interesting going out to do Takuhatsu with him. I can see me doing this in my area. With Takuhatsu No real language issues, no space to rent issues, advertising issues, no identity other than a Komuso. Brings several things together and serves multi-causes. The problem, license, certification, affiliation.

In speaking with my friend about my desire to be a Komuso and why. He said you do not need to be a Komuso to do that. Japan is a Buddhist country if they see you as a Buddhist Priest your color will not matter. You can wear whatever and do not need to be under a Tengai. It is considered fortunate to encounter a Buddhist Priest/Monk especially by the elders. It maybe more to your advantage being who you are, than you think. That got me to thinking…Hmmm. maybe…in all Black robe…

.
Yet there is still the issue of License to do Takuhatsu
( beg) in Japan or perhaps a street performer license. Although that would put it as entertainment not as a serious Buddhist practice. Something to think on…
I have a Shakuhachi recital up coming in two weeks. I will met a shakuhachi Sempai who is a former Policeman and now a Komuso. I was told by my Sensei he does not look at Shakuhachi as a Musical instrument, but only as a Zen Tool. This way of thought, I find interesting. I planned on asking him about license, begging the law, Buddhist Dharma and Shakuhachi. This could give me the final answers I need or a door to where I need to go.
Shakuhachi Club
 
Once a month there is a meeting of the Classical Shakuhachi group. This group plays the long Shakuhachi. I am new to this group having just met some of the members over the last couple of months. This is the group my new Friend, who is from Germany belongs to. As it turns out these members are all Komuso or mostly all, belonging to the Myôan-ji in some form. A general statement. The point is that they are affiliated in some fashion with the Myôan-ji in Kyoto. I made my way to the meeting on my own this time. I was able to located it ok, with a little effort.
There were six of us attending. Once started, there was a little scale drill as a warmup. Then playing two versions of Cho Shi. I finally figured out one of these version I already had learned, the writing style was a little different. Although I needed some playing adjustments, I knew it. Afterward, there was some chatting, then everyone went through the study piece everyone is working on taught to them by their former sensei. Next up everyone played the song they are performing for any upcoming concert. In this case the big show in Kyoto at the Myôan temple next month.
It is at this time period where I play a song. I did Cho Shi even though I am now finished with “Tamuki”. I am more comfortable with Cho Shi, I can play without reading. I was listened to and asked to play again with no breath vibrato. I tend to do this from playing Harp and flute. Afterward it was said it was much better, more like Shakuhachi. There were a couple of corrections I needed and was told about also a point about my breathing. There was some other talk and I heard we’ll teach you. Ok, Cool. I am getting some real lessons from this. Perfect since I need to cut back on my formal classes with my Sensei. I had originally looked for a Shakuhachi group to learn from, but It seemed at the time it was only for people who already could play. Now I am one of them. I can make musical notes, and read, poorly but…still, I can. I have made some progress. Though it does not seem like it to me. I guess this is a real milestone marker to be accepted into the group. ( Thanks Dean for the intro).
So after almost 2.5 yrs of study, I am where I wanted to be when I started…well sort of. I wish it were so with my Kyudo, but that is another story.That evening I receive an eMail from my friend aka “Big O” in the group. He says he spoke with the group about what wanted to do. basically it was said no problem I can join and get set up through them. Wow, great news! Fairly simple, smooth and cheap! I had heard that doing this official Komuso via the Temple was costly! I had an alt plan of speaking with a Kinko Sempai about joining the Kokoku-ji group in Wakayama. I was expecting even there, pay a monthly fee to a sensei plus the extras…
The Myôan-ji seems to be more active and the new Abbot is rumored to be more interested in raising the meditation aspects of the Komuso group.

I do have a sense my Sempai is of the more hard-core Shuizen mind. Which could be perfect for what I want to learn. Wakayama is much much closer. I am going to continue to flow with the force and let the Tao work. I am hopeful with the Sakura in the spring a new Komuso will bud in Osaka.

 

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Chan, Music and Food: The Taiwan tour, pt 2


Chan, Music and Food: The Taiwan tour, pt 2

When we last visited our hero he was down with a a/c cold…

 
The night before once I returned to the hotel, rest, a hot bath, glass of wine. I was out for the count fairly early. The next morning I was feeling better, not perfect but better. We started the day with another great buffet. It was not fully vegetarian but there was enough choices that I could again eat my fill. I did not stick with the Chan teaching of eating 75 – 80%, I stuffed myself, not to an excess but at least 90-95%. It was worth it. I needed the body fuel to help heal, I figured.
 
It was still somewhat early, but I chose not to redo the plan to visit the Heart Chan group, rather to just rest. I think I went with LZ out to a couple of places she wanted to go to. It was hot out, but for me not uncomfortable. Since I was not bothering anyone with my small sniffles at this point, going out with her was fine. One of the places she wanted to see was a tower called , 101.
 
Afterward back to the hotel and just hung out in the lounge. There we could eat and drink in under relaxed conditions. There was some food set out, not a great selection but I was still able to top off my breakfast from the morning, enough to hold me over for the evening. Then I was off to the club.
 
My friend the musician I met in Sakai, Japan and I met up at a place call Jazz/blues spot Swing. It had a bit of trouble finding it once I was nearby. With some help from a local I was able to get there. My friend also brought along a friend of his. She had lived in the States for a few years, so her English was great. We because friends easily. She had an interest in Qi Gong and Chan. As it turns out she was just finishing a book by the grandmaster of the Dharma Drum sect, founded by Sheng Yen. My current teachers school and teacher. Also the place(s) I had just went to the day before. So as it turns out I am her Sempai/shrxiang, elder brother. Funny small world. So we three hd a pleasant evening at the club. I spoke with the owners some who also spoke Japanese. The husband played organ. At a later point he, my friend and I did a couple of songs together. I did not have my Bass, so I played piano on one song, and just sang on another. Fun. When settling my bar tap I meet another person from Japan, Tokyo, he is Chinese, speaks Japanese, English and Chinese. His wife is Japanese. A nice fellow who also plays Sax. We exchange info Facebook and Cards. He says he often comes to Osaka, so we may meet again.
 
I find out trains in Taiwan also stop running at 12:00 so it was time for me to head back. My new Chan Sister and I walked back together chatting about Chan and enjoying the walk. At the station we went opposite directions.
 
The next and last day, LZ and I went to another recommended vegetarian restaurant. It was big! Food thing we had reservations so got to go in among the first. This place was the best of the stay. Lot and lots of choices both western and Asian. I saw a group of Buddhist Nuns there also filling up. Once again I did the 90% fill up. Maybe 95, I knew it would be the last meal there so I enjoyed. There were so many choices I got a little of almost every thing.
 
From there it was back to the hotel to make ready for our early evening flight back home to Osaka. It was nice the flight was not too late and it was only a little over 2 hrs. Seats were tight with no leg room. Still I was able to sleep most of the way, by the time I was getting too uncomfortable the flight was over.
 
It was a good trip. lZ said she had no interest in going back the food was not as great as she hoped for. Japan had more variety. For me it was great . Japan is not so great for vegetarians. I did get a website that list Veggie places all over. Some not too far from us, but still some travel involved.
 
Would I go back, hmm yeah, if I could get a good flight price and hotel rate. Also with a purpose. Like a retreat with the Chan group, or a Kyudo seminar, something like that. I still like feel and sights of Japan better. If there was a Tai Chi Mantis sifu or Chen Tai Chi teacher there in Taiwan that would push me into a visit sooner than later. I heard there maybe be a Kyudo Seminar there, maybe that will be my return reason…it is up to the Dao. If God be willing nd the Bombs don’t fall.
Oh, if you wish to see the photos…click here X
 

吹禅 – The gathering

Two years ago, about, more or less, I was looking to join a shakuhachi club. I thought that was the way to go to get lessons. However I found out that is for already knowing how to play people. Then I came across my current Sensei a short while later. Lead by the hand of the Universe I encountered him. Major stroke of luck, or blessing…depends on your view-point!
 
Skip ahead…
 
Now two years later I was introduced to someone who is in one of those Shakuhachi groups. I was invited to attend a meeting. The cool part was that this group was/is in some remote way connected to the Kumoso players in Kyoto. Major Shakuhachi luck strike! I had gone to a concert by some of the members of this group. I do think I wrote about the concert, maybe I did, but do not feel like checking right now… So a little recap now. There were 45 invited players to this concert. Different styles and schools. It was interesting even though I did not see all the players. Which was kind of good, since it would have been a loooong day. Also some of the styles I did not really care for. Eg: the really breathy style. I like the note sound not the breath so much. 
 
Ok, the meeting was small. Not all the members attend all the time. There were six of us this time. Several of the people there were Shakuhachi makers, one of them a professional. That guy also makes Tengai, for Komuso. He had one with him, the cost was about $1,000 US. Store brought in Japan about $400! Today’s Komuso have money I guess. I have heard about some of the parts for the Komuso-wear are also very costly. Quite shocking for a group that traditionally went around just begging. Most do not beg any longer, so yeah, times have changed. The Komuso ( not all ) have money.
 
Another two people had their own self-made Shakuhachi with them. Each of them gave me one to try out. This group plays the large Shakuhachi, not the standard size you see Komuso with in pictures. I was told that if I like one it was mine to take home. I was quite shocked! I was told before arriving that one of the players wanted to gift me a shakuhachi as he had plenty he made. I was thinking, one of the small one simple made. However….no this was a big flute, with an inlay at the mouth piece not just cut. I was shocked, I said that, right? So yeah, way cool, I like the big shakuhachi, anyway. I prefer the deep tones. 
 
I was given a bunch of music that they were going over. The notation was a bit different from my Kinko style so I easily got lost. My musician ear and watching another player helped keep me somewhat stay up with the group. The first song, the starting off song, I already knew from learning it to do the Komuso walk. So that was not really a big deal, other than playing it on a really big Shakuhachi that I was not accustom to playing. It was good, no one really cared.
There was a point were everyone played a piece solo that was going to be in the next upcoming concert. They went around the table, each one playing a song…and came to me. I tried to pass, but was unable. I was told it was ok to replay the song I knew, Cho Shi. Hesitantly I did. There were times I could not get the note out. However following my sensei’s advice I just kept going like it was part of what I was doing. Over all it was not bad. Not good, but not too bad. I thought well at least I did not embarrass myself. I was told it was impressive I could play that well, with a new instrument. I felt relief, yatta!
 
I was asked to tell how I met my Sensei. I was taken back for a bit, because the guys there did not speak English. I surprised myself by just speaking in Japanese. I did not even give it that much thought, to how to explain. I did somewhat ok, until I started to think about what I was doing, then my words got mixed up. Still, everyone understood, and that is more important than the correct word is the communication. Heart to heart communication, like in Chan transmission.
 
After a few more songs we closed the room up and went to a local shop for dinner. These guys are Shakuhachi freaks! The whole time the conversation was about Shakuhachis and playing, for the most part. I did not get most of it, but my friend translated, that was a big help. My small shakuhachi from the recycle shop was checked out ( looked over), and given a big ok. Some had one also by the same maker. It was not a cheap flute. I felt grateful to the Force for leading me to it.
 
So we shared food, drinks and laughs, then called it a day. I was invited to return anytime I wanted. The guys were all nice, and low-key. I will be returning as a regular attenders. I am pleased with the path my Shakuhachi study is taking me. Also grateful for the guidance from others. _/|\_
From the Izakaya, after dinner, 3 or 4 glasses of wine, 2 cups of Sake (none of which were full) I went to Kyudo practice. I did terrible, which was not surprising. It was really more about me doing it, than how well I did it. Sometimes just showing up is the training._
_/|\_

吹禅 – Kobe Classical Shakuhachi Concert

 

Fuke today…

 
I was contacted by a friend another Zen practitioner, Shakuhachi player and blogger. He told me of another player and who lived near me. There was going to be a shakuhachi concert in Kobe. I could get in touch with his friend about the details. The timing seemed perfect, I had plans on being in the Kobe area on that day. So it was a well timed fated notice.
 
The concert was to consist of 45 players all hand picked to play. They came from different styles of playing. The Myoan school was to be represented. The Myoan school is considered from what I understand the Headquarters of the Komuso group. Well at least in this area. The temple is based in /Koyto/Nara. I have not yet visited but it is in my plan. A couple of years ago I contacted a sensei from there, looking to buy a flute. When it was made clear I did not want lessons, but to make a Shakuhachi purchase, the communications stopped. Weird, but…oh well. I found out more about this sensei later.
 
It took me a while to find the location of this concert venue. It was not an easy to spot location. However with the help of a friend I made it. It was all day affair with 45 players that is to be expected. I did not stay for the whole concert, I had other stops planned for that day. I was able to get a taste of some styles. I am not a fan of the very breathy style of playing. I enjoy hearing the pure note more-so. The breath tones to me are good for accents, drama, etc, but not on every note so most of the sound is breath. Like what I do when I can not get the note to sound. I wonder the reason behind the development of the sound, at least the heavy use of it. Perhaps the commitment to the issue of the note and not the note was the root.
 
I noticed many of the players were priest. Most had worn some type of traditional clothing, at least of those I saw. I did not check out all of the people in the room, but myself and the guy I went to meet in the first place were the only non-japanese. 
 
The room was a small hall. I have to change my understanding of the term “Live House” . I thought it was just to with a bar or club that had a live band, or music. Mostly I am thinking bar type place. This place was also called a Live House, but, not what I imagined. Mind expanded on term! WhooHooo!
 
It was a worthwhile little excursion. I learned more about styles and Hearing the differences. I like the Kinko style I am learning, More than the ones I heard this day. It is a good starting point for me. I would like to know more about the Myoanji philosophy and how /what is the inter-play with Shakuhachi and Buddhism in their sect? What is/are the Myoanji other practice forms? I have been wanting to ask Mutake-sama the Komuso of Nara, but we get busy with other topics of the moment. Slowly, small steps I am getting insights into the Fuke of Now.
 
 
 

吹禅 – Birth of a Komuso


A Komuso is born…

 
It had been my plan for a while to do some type of shakuhachi pilgrimage every year. The anniversary of my formal shakuhachi lessons is in April /May, so I am late this year…if doing it on the date matters.
 
I set off fairly early on the pilgrimage. I was nervous, and dressed in a traditional Zen monk’s work clothing a Samue. Even then I was a bit self conscious, no one noticed or cared, they were dressed in western fashion, me the gaijin was dressed in traditional wear. It is an interesting world view.
 
The trip to Nara was simple, and fairly quick. I was traveling ahead of schedule so did not feel rushed at all. I arrived and looked around for a locker to stash my backpack. However even though early the coin lockers at the station were full. Oh well, thanks to my Sempai, I was shown another place that was setup for people to drop off luggage. He had arrived shortly after I did. I found a toilet room and changed into my kimono, after which I put on the borrowed Komuso gear from my Sempai. He had given some basic directions about what to do while wearing the “basket”, theTengai. Do not talk while basket is in place, remove it on the temple grounds, when speaking lifting the basket was ok or taking it off. I found that a bit hard to remember, lift and talk. I forgot many times and thought oops! I rather liked having the basket down, I was anonymous and hidden. A no one, people saw the clothes, and heard the sounds, but me as me not so much. Not the Black guy in Japanese gear. At least in my mind.
 
We started slow, I followed Sempai’s lead. With the Tengai in place I could listen to my playing and his. Not see the people watching, or at the least ignore them better. I was pleasantly surprised we were able to play in harmony. I have heard recording of other Komuso playing and many times the tones do not match. In the Komuso world it is not supposed to matter. My Sensei also told me that in traditional Japanese music it is not about being in tune, harmonically with other players. It is more so with Shakuhachi Komuso Playing. However my musical roots come from a different place. Disharmony of tones can be an accent but not the norm. So, I was told that it did not matter, but to a musician it did. So yeah, not having to fight a tonal discord made it easier to follow the lead of Semapi on his phrasing of the Cho Shi melody. 
 
We played first near the train station, then slowly walked toward the park, stopping every so often. People always took pictures. Being in the basket, I did not care. I was not me, who I was did not matter, what I was doing mattered and I could do it faceless. There is a Kyudo ceremony I have seen that the archer covers his face while shooting. This way it is not about the shooter but the shooting. Here it was not who was sharing the dharma, but the dharma. The Dharma in this case is the musical tones of Cho Shi.
 
Once we reached the park we had our first negative encounter. I was told negative encounters happen. Not always, but they are out there, where there is Yang there is Yin. This is the Tao/Do of life. Sh*t happens! they say in the street.
A security guard or sorts made us the target of his day’s power trip. He basically told us we could not play there on the street in front of the Park. Even though we were not IN the park, it was considered part of the park. At least in his view. Sempai was quite surprised having been doing this for a number of years. Rather than hassle with this “rent-a-cop” on a power trip, we moved on and crossed the street. There was fewer people traffic, but it could not be helped. We walked on.
 
We made several stops to play after that without any further incidents. Our next encounter came from a couple of tourist girls. They said we were Co-playing. Sempai corrected them that we were in fact real priests. He was from a local temple. They were surprised and wanted pictures taken with us and them. The first of several group pictures throughout the day.
 
I noticed most times we stop, there was always a small crowd gathered taking pictures, even as we walked some times, pictures were common. This day much much more than donations. I was not really concerned about the donations, for me it was more about being out there. Playing and doing the practice. Turning inward and doing the song under the “Tengai” got easier as the day went on. I could block out, the photo ops crowds and just play. A couple of times a few people would get really really close like they were trying to see inside. Perhaps Chinese tourist, they are not known here for being subtle. I rolled with it. When you stand in the wind, you have to expect something to get in your eye.
 
One of the more difficult parts was walking and playing. That became a real challenge. There was the timing of the song, the musician me was concerned about the rhythm of walking and the playing of the song, the martial artist me was concerned about the rhythm of the breath while walking and playing. Should everything match? Meanwhile my Tengai was slipping down over my head and covering my eyes, and other parts of my Kumoso wear needed constant adjustments from slipping. Add to that some knee discomfort and foot discomfort. As with sitting Zen there was more to it than meets the eye. It is not Just sitting, it is not just playing, one as to over come distractions, internal and external. One can not attach to the distractions, one just does the practice.
 
I noticed during our travels, the different reactions to us. Tourist took pictures, kids pointed and had kid reactions, some just ignored us. Some of the older Japanese surprised me with their reverence. They would stop and bow. That was to me touching, not seeing me, but the spirit I represented.
 
One older man spoke with Semapi upon hearing us play. He said the sounds returned him to his childhood during the war. There was a legless Shakuhachi player in his town. He wanted to learn from him. However the cripple said he ( the kid) did not want to go on this path (of suffering/sadness? ). Later he was able to take lessons, but had not played in many many years. He said the spirit that we conveyed was beyond and more important than not being Japanese. I found that comforting.
 
In most of the tales about Komuso, it is about them wandering around playing. However it seemed the playing was about and for their enlightenment or money. They did not really do Buddhist Priest type of things. When I see and have donated to other Priest on the street they give some type of blessing to the giver. I was told when receiving a donation as Komuso, one bows and keeps playing or restarts the Cho Shi song. After the day was over, Sempai said to me, the donations you received it would be good when you got home to put it in your sacred spot and say a pray or chant over it to honor/bless those who gave. For me that struck a good cord and really gave a purpose to the collections outside of self to buy lunch or the train ticket. It was also doing something as a priest since I do not belong to a temple here or do outside charity work, here in Japan. I have not seen much of other Komusos other than for special events, so this to me gives meaning to being a Zen Priest. Something to support my vows.
 
Overall it was an educational and enjoyable experience. I enjoyed having a spiritual outlet for playing and being a “Ronin” priest. I have decided to do more of this and make it a part of my Lohan Chan practice. Even if nothing happens via teaching Budo and sharing dharma that way, there is this musical dharma outlet, that is not just me playing for self enlightenment. The Modern street Komuso playing touches people, more so the elders, perhaps they need it more these days. Perhaps also praying over the donations adds positive energy to the world conditions. Maybe on some level eases someone’s suffering… even if just in their or my head having a Priest pray.
 
 
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Completion …Art tools as Art within Art


The forces are balanced, the water boils properly; but if the pot is too full and boils over, it puts out the fire. On the other hand, if the fire is too hot for too long, it can evaporate all the water. In maintaining the equilibrium that follows the completion of an arduous task, forces at work in the situation must be monitored carefully to ensure that a proper balance is maintained. The state of After Completion is a time for fine-tuning, for refinements and embellishments of what has been accomplished

…I-Ching #63



Things are coming together. Yoshiko the Bass, is doing well. All cleaned up she is great.  The day after she came back from the shop the parts I ordered came in . Gold plated tuning pegs and volume/tone adjust knobs. It adds some nice bling, but understated. It goes goes with the dark wood. Now I feel like it is “MY AXE”, my Bass!



Another, I have been waiting for item arrived yesterday, my Ya from the shop. Earlier than I expected, that is always nice. NOW they are perfect as I had in my mind. I wanted for a long to time get these ya, then when I got them , last year, they did not get part of the work correct. So every time I used them I was reminded, this is unfinished, this is not how/what I wanted, I am still waiting. I used a pair tonight at practice, and yeah it is pretty superficial to trip on a small thing like a color scheme, or a pattern. Yet each fleeting glimpse of beauty observed, yet un-named is a bit of Zen, and in itself a practice. Observe, Absorb, Release. See the flower, breath the scent, move on. Also, there is no mistaking mine at a large event in a barrel.

I had been giving some thought to my fixation with the bass and the ya. Besides being tools of my passions, I think a combination of things, I am self analyzing. It has been over three years since we lost almost everything with the Boat, the bankruptcy the year before that, the lost of the condo, job, etc, in the years just before that. People giving us stuff to start over since arriving. It has been a while since I have had something of mine, as I want it, even then it has been a bit of a hustle involved. We still have basically very little and own almost nothing. For real nothing expensive. It is ok, we have what we need and a little extra and health, life is good. I will most likely not have a Car, motorcycle, boat, condo, or well-paying job again. Not to put a jinx on myself, but reality is the mind of Zen. Under my present conditions, without some major changes anyway, yeah, so whatever treats I am blessed with these days is a big deal. Life owes us nothing and is not fair. All we can do is take another step and be thankful for the foot to do so.

 
I was inspired by the newness of my tools, to take some pictures. Another plus for the new tools is artist inspiration joy is where you find/make it. 
 
Tools of Art, as Art, art within Art…

The Bass Story – final

 
Waiting…
Good thing, well not really a good thing. I was going to say, good I did not have a gig, but I would have just used the Peavy, no biggie. Anyway. I was told it would be ten days before the bass would be ready. On the tenth day LZ says, no, I said about ten days! Ohhh, 😦
I settled in for more 
 
Waiting…
I figured Tues the guy would call. He called Monday night… LZ explained. It was arranged to expect delivery on Weds. Just a bit more 
 
Waiting…
Finally, it arrived , the guy was a little late but, no biggie after all this waiting…
 
Waiting to find the right Bass, right price
Waiting for the auction to end
Waiting for shipping
Waiting to locate a repair person
Waiting for the seller to contact us
Waiting for the repair
Waiting to play, hear, feel, see.
 
One could not ask for better service. The shop owner picked up , repaired, delivered, my Bass. ( which by the way I need to name)

So I highly recommend Guitars Fact.Kawanaka

 

Oh, yeah, the seller. LZ set him an email. We were not expecting to hear back from him, because other on the comments said they did not. We also figured out later if LZ had made the purchase as a premium member instead of me a free member, then Yahoo Auctions would have gotten involved. Anyway the guy contacted us. He said he was sorry there was a problem, please return it at his cost , to be checked out. Well by now we had sent it off to be repaired. We told him so and the cost. Which was only $65.00 about in Yen. Which was really not a big deal. He did not offer to help with that he just said sorry. We let it go. The full shop work cost 25,920 yen. About 260.00 in US cash. That was for the repair, new strings, resetting factory specs, setting the neck action low but balanced, removing some yukkiness from the back side, re-oiling the body. All in all it cost me 57,920 yen for this Bass. I am pleased! I got the Bass I wanted, and had a little left over to help with the new Shakuhachi. So making the sale of my brother’s Bass, worked out.
 
I spent some time today just playing, feeling, listening to it. This bass was a good choice I am very comfortable playing it, the weight is good, the sound is good, the action is good. This will be my working Bass. It has been a while since I have had the, this in “my Axe” feeling. rather than this is my brother’s Bass. This was made possible via his bass, so it is still sort of live memorial for him.
I have a couple of things upcoming with the Doc’s Blues band. I have not played with him since the thing in Kobe.
Last year we did a blues festival and were asked back this year. I agreed. It is alway good to play. Better knowing what to expect, which is nothing, just roll with whatever, makes it simple and almost fun. So I will get to go live with the new Bass..Yoshiko? hmmmm, maybe, It was made in Japan, one of the last.
My string section is finished now. Some people have a large collection of Basses and or guitars. Not my style. What I have now is all I need or want. I still have my brother’s four string Bass as a back up. Which I have put a way in its case. So it has been a little weird-looking at an empty Bass rack. It has been a small reminder of the void and waiting for completion …
Now I am looking to Jam, feel it, and think… it’s Alive!!!.
 
 
 
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吹禅 – Toyonaka – Another day another recital


Recital in Toyanaka

 
Another day another recital. Sensei had given me info on another teacher’s student recital. The teacher, Ishikawa Toshimitsu famous, in Japan. His teacher Ksuya Yokohama was more famous! My sensei told me tonight at class he could make the introduction for me to study with him…at a later time. As my skill as still somewhat low. apparently the honkyuko songs are his specialty.
 
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It required a bit of a travel to reach Toyanaka, however lucky it was not expensive. All local trains, then just a short walk to the venue. About three minutes, unless you get lost like I did I took sometime thinking about it. I only decided to do so the day before. I figured, hmmm ok, someplace I have not been, listening to different people who are not masters, my peers and sempai. It will give me some idea of where I am at. I have only met my one other sempai. Another thing about this recital it will be all HONKYOKU music. Just for Shakuhachi. I have only I believe heard one or two. Over the course of my appreciation for the instrument I am sure a lot , but now I know what I am listening to.
 
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It was nice it did not start until 2:00 pm . I did not have to leave the house until 11:20. Even then I had a casual trip. I did get lost trying to follow the google map LZ had setup on my phone so I would not get lost. My first time using it, and did badly. oh well. I made it. I arrived as one student was playing, I believe the same song I did for my recital. It was interesting hearing another amateur play it.
 
There were a fair amount of people there. Most of them students, most of them in my age group and older. No one seemed surprised to see me. I thought I was the only foreigner there, but when I was leaving I saw a guy who looked, East Indian. I did not get a clean look. I was also quite surprised when one guy, a Japanese came over and started talking to me. First in Japanese then in English, which he said he learned in High school. Very casual normal stuff and short.
 
 
 
The performance itself was good. Some very good, some so so good. I was surprised to see several of the player were blind. The sensei told of each player’s or most of them’s “dan” . I heard Shodan and Na na Dan several times. It was a worthwhile experience to go, educational.
 
 
 
The area of Toyamaka was not pretty or interesting at all. Now I know. 
 
Picture/videos link here. Videos are still being uploaded, ( not-easily ) so if you go look, stop back a couple times if you want to see the vids. Most of the vids (songs) are just short bits. Only a couple are full lengthThe pictures are nothing other than just a markers for FB and such :-). It is all about the music.

It is all about the money…a Bass story


It is all about the money…

 
I learned something the other day. I did not go into the lesson thinking about an economic lesson but music.
 
For a long time I have been thinking about getting rid of my second Bass. On and off I play it. I had recently decided to play it more and adapt myself to it. It is a 6 string bass, made in the US. That is sort of rare since most of that work was, is done elsewhere now. Use to be Japan, then changed to someplace cheaper, then someplace cheaper than that…So Made in the USA has some value on a resale.
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This bass belonged to my youngest brother. He was a musician as well. He even played pro for a while, with a group called the Bus Boys. They got big when Eddy Murphy did a movie with them in it, called 48 hrs.
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Then he hit hard times. He also did graphic design as did I . We were sort of like the mirror image of each other, sort of. He hit upon hard times, and passed away from a medical condition, no money for meds. I was the one who took care of collecting his stuff. He had a 4 String Peavey and a 6 String. I got the 4 string but noticed the 6 string one was missing. I found out he had pawned it. A short while after I gather his things, I got received a forwarded mail from the pawn shop. I contacted them and collected the Bass from a Pawn shop in LA. A beauty, not what I would have picked, but very nice, also heavy and big. Also the neck was too wide for me to be comfortable relaxed playing.
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I have played it as I said here in Japan. Also thought much about selling it and getting a 5 string. Beside being heavy I was not using the bass to its potential. In short more bass than I needed. I still had and used the 4 string, but wanted the deep B to give some bottom at spots. Finally after LZ said she wanted to close the yahoo auction account, I should use it before she does, by the end of the month. Ok, I acted, I figured I would put it up as a test and make sure I had a minimum sell price. I was shocked a bit, but not that surprised after a day or less for the minimum it was sold. 
 
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Now I began the serious hunt for a replacement. What had gotten me started again with the sell thought was seeing a bass in the music store, that looked sweet! The next few days were spent researching, thinking, what did I need, not just want, my plans, taste, age. I was ready to buy something from the states, but after much much much more research I came back to the bass model I saw in the store. I also found I had more of a selection buying used in Japan, as well as saving money. It was settled, I found a good bass, for a great price. I saved enough to help put money on the new Shakuhachi I plan for this spring. 
 
So I feel my brother would be ok with my choice to sell his second bass. He had already done so sort of. I saved it and it got to be played in Japan. Now I will still continuing to play Bass, but also invest in another quality musical instrument. Beside I still have his main bass. Not that he really cares, but it is just the sentimental thought process of humans. Not I have the working setup I want and need for here. Now to just make the music…yosh.
 
So ??? what was the lesson you ask… I found that even in Japan they use the made “country” as a selling point, in some cases. I saw several Japanese basses say, made in Korea. The new bass I saw in the store was made in Indonesia. Some ads for basses said made in Korea, then I saw some that said made in Japan. Those where the considered the best quality, Japan then Korea…
 
Interesting ne! How every country changes their labor to a smaller ranked country to save money. Maybe one day made in China will have the “gold standard”. Things change as the world turns, but it all comes back around.
 
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 Well, my new bass, arrived today. Earlier than I expected! Not a bad looking bass. however, frack me!!! it does not work!!!. Plug it in nothing! Well, the neck is good, and the action feels good along with the weight! The finish is rough as I saw, but the bummer is it does not work. I can refinish the body, not a biggie.
I had considered buying a so-so bass and upgrading the electronics. I guess I have no choice now. LZ says there is no return on this. She wrote the seller anyway, because it was not stated it did not work. and will leave them a BAD rating. Even in Japan there are crooks on-line!! So another lesson…2-for-1. Great, now I am depressed after all that effort to find a good bass and deal!! Sigh! Guess I will go have an adult something for the head and chill! I will find a repair later…tomorrow ! Grrrrrrrrr. 😦
*next day*
Off to the repair shop today…to be con’t…
 
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吹禅 – Owari desu…yokatta


Whewww, glad that is done…
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I was off, it was to be a full day with Kyudo, stuff, Guitar, and Shakuhachi in hand I head out…
It finally here the day I wanted to get over with.
It felt more like taking a test than doing a recital. I have a good grasp on most of the song, but not all the small parts. It was requested that I should memorize the song not read it. Hmmm, ok. I figured out why I am having trouble memorizing this song. Beside me getting old, so many things with just my playing , then to add memorizing …it is a lot for something that is new. 
 
Anyway, no matter. I had it down enough that only those who knew the song, would know I am not playing it “true”, There were other people there beside shakuhachi students. In fact mostly koto students and shamisen. This is what I was lead to believe…it was mostly right.
 
So, anyway, i wanted this over with that was part of it. It would be my first real playing live. I did play a section at my Ordination , but this was the whole song, in front of Japanese strangers, musicians. The “musicians” is the key in this case…peers.
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Also there was the requests from my Sensei to play a couple of other songs with him. One of which I was to sing. I am not sure why I dislike doing that song. That part was not fun , but the other song playing with Sensei was harder, and I did not have the time to practice it. So my guitar work was expected to be poor..It was! Embarrassing to me, maybe they did not care or even notice. I did, Sensei , hmmm, not sure. My timing was there but some notes and cords, where funky (sour) to me.
 
The day started early for me, even though the event was not until 2:00 pm. It was a 90 min train ride about. However since I had a stop to make i left earlier than needed. I was stopping by the Kyudo shop. I wanted my ya fixed. It has been a small thing, but the coloring design has not been right since I got the new Ya. Since the shop was on my way to the recital house it was a perfect time to stop. Finally, I can get that behind me. It is a very small thing , but it irks me everything I use the Ya. I am still attached to the vision of how they are suppose to look. No one cares but me, but it is part of my small joy of if not shooting well, at least looking good whilst shooting bad. 🙂
 
That part of the trip went well. I hope the guy understood !? It will take a month for it to be done. I guess their shop stays pretty busy for custom work. Or something. It took a month for me to get the original set. Hmmm maybe he said a week?! Or well. Not a rush anyway. So just wait, mode engaged. I have my everyday Ya to use anyway and I am not going to shinsa next month. Speaking if which, I went into practice on Sat night expecting quiet and aloneness to practice with my new-to-me winter kimono. Wrong wrong wrong, ran into a a big practice session with several Senseis had to join. Anyway, alway good, to learn something.
 
Yeah, after the Kyudo shop, a quick stop at Subway for a sandwich. That is one of the few things I miss about the states is the mixture of foods I can get. I would love to find a falafel shop. Yummm. Anyway. i got my usual. Flat bread, avo, cheese, all the veggies, with basil sauce. It was good! Then onward to the recital. We were to have a meal afterward but that would not be until 4:30 , it started at 2:00.
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I got on the train and headed to the house of the Koto Sensei where the event was to be held. It was almost to where we used to live when we first arrived and stayed with my Mother-in-law. I made it to the home with no problem, by following the map and a little common sense. My Sense had not arrived yet. There was a Sempai of mine their, I had met before. The rest were a bunch people I did not know. But it was ok, they were all pleasant and tried to be helpful to me, with my limited Japanese. Pretty soon , everyone was there , except for my Sensei. He was not late but it was close when he arrived.
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Once he was there we started. He was the MC it turns out. So he did the speaking. He started off with a small talk introduction of the players for the day and then began with his first song. I was to be next. Great, following the master!! Another reason to be nervous! Just Great! Ok, my turn. I took my music chart just in case. I put it on the stand , but not right in front of me. Just to the side, I could look over if I needed, but for the most part I would have my eyes closed and just play from memory. If I mess up, I just mess up. I will keep going. One thing I learn from playing so long live, just keep going, the mistake does not really standout until the player makes it so. I would keep rolling, and sure enough I got a part or two mixed up. Only my Sensei and maybe his sempai who was there noticed. Afterward, sensei said I passed, I did well. Most people fail to get notes out. I was able to play through-out. I think I also got an approval from his sempai. Although he did not say so to me, they were talking about me. I would get pulled into parts of it. It seemed positive. So I guess I had Shakuhachi Shinsa of sorts.
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The rest of the show was interesting, all traditional Japanese songs. Solo, duo, trio. Cool stuff. No young people in the event, all oldsters like me and older. Sensei told me there is a big event next week, where there are many players semi-pro and pro. I am guessing a mix of ages. Maybe I will go, for some inspiration or something.
 
I am to start a new Honkyoku song, called “Tamuke 手向.”. These are traditional “spiritual” shakuhachi songs. They seem fairly long and complex. Perhaps these are the ones sensei is picking out for me as a teaching path. He says we will be working on this next song of, which the name I do not recall, through the summer and into the fall…
Wow, long time for one song. It does not matter, I have no rush plans on what I learn or pressure to stop. I am just learning and will apply when ready. As for stopping, the universe will determine that. I will continue to play until I can not. Lessons may need to be adjusted due to conditions, but the playing does not stop. 
It just surprised from doing modern western songs. I never really studied classical music in-depth to compare. I will guess there is a mixture like in western music. There is a another honkyoku I am working on to play with the Nara Monk this spring, which I find short and fairly simple after what I have been learning. Which brings me to the thought Sensei is selecting complex works to use as a teaching tool, not so much for the music or to just learn another song. Like in Kung Fu the principal behind the technique is the important part. The soul essence. Understanding that, rather than the physical act at the applied moment is the pearl. Once you own it you can adapt it and needed.
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It is kind of nice studying with this shakuhachi sensei he is somewhat of a rebel, besides the greatness of him speaking English. As a rebel he does not give ranks (dans) to his students. That is still a practice in many schools with. A traditional background. One gets a Dan and also pays more with each Dan for classes. I do not really need a Dan, I have no plans to teach.
 
So now onward. New song, new adventure, new area of learning…yosh!
 
.more pix and vid here