尺八 – The Myoanji Pilgramage


 
I had never been to the Zen temple Myoanji in Kyoto. It was on my list of places to visit as a shakuhachi player and a Zen follower. It is considered the main home of the Komuso these days, well at least in Osaka Kansai area. I was told by a Komuso that the kokokuji temple in Wakayama is not really a headquaters per say for the Komuso, even though there are some there and are of the same branch. I was told the kokokuji temple was originally the first place of using the Shakuhachi as part of their practice of Zen but not as Komuso.
 
 
There was to be a shakuhachi concert at the Myoanji temple. I thought it was some type of Komuso meeting concert in full dress but no. Anyway hearing about the event I made plans to attend. There were members of the Shakuhachi group I have recently started playing with going to be performing. So now I had several reasons to attend. To see the temple, to hear the concert, see a bunch of Kuomusos, support my group. 
 
Another early day start, I was up at 5:00. I dislike getting up at five, I dislike getting up at 4:00 even more, so i looked at it as at least it is not 4:00. As a musician I am geared to just going to bed at 3:00 or 4:00 after winding down. Clubs in the US close at 1 or 2. Not so in Japan. The trains stop running at 12:00 so unless you have a car or a place to stay you are screwed! But that is another story.
 
I was up and out early for the event. I got on the road early as there was some issue with the trains in my location. However that did not affect my travel, I was still late and missed the opening ceremonies, but not from missing the train. I made my way to the temple, as I was near I stopped at a local police station to get , confirm directions. They were very helpful and got me going correctly as I was. As I neared the temple I was still not quite sure which, where I it located. I was very close but was not sure, 100% sure. I asked a crossing guard , he was not sure either but pointed sort of the direction or told me to check with another guard on the other side of the street, I was not sure which. I walked to where he pointed which was a parking lot, also another guard. I heard shakuhachi music and followed the sound to the temple. Once there I found the music was coming from a speaker outside, but I went inside the courtyard and say the famous stone sign for blowing meditation so I knew I had arrived.
 
The place was much much smaller than I thought it would be, so this kind of threw me off, but I went inside and say I had made it. I was offered a flyer, i said no, I had one and entered. It was even smaller than I thought. More or less one room, mostly with people waiting to play with only a very few people sitting on the floor to listen. I stood next to the doorway for a while, then went back to ask if this was the place to sit. Yes, I was told so I grabbed a cushion and a floor spot. I had missed the opening but not by much. One of my group members was playing and he was one of the first 3 players. 
 
I checked out the room and listened. After a bit I spotted Oota-san from my group. He had made and given me the 2.5 shakuhachi I had. A short while later I spotted a couple of others from my group and they saw me. 
 
I sat and listened. A couple of the players in my mind where not that pleasing to my ear. However I wrote it off to their style not their skill. One player seemed to have more breath sound that notes coming from his flute. Not pleasing to me. None of the players had the komuso dress, many in Kimonos and kesas. A few wore suits with kesas and few wore samues. I took all this in and sat and listened. There were about four gaijin also playing and I heard them speak to their Sensei in English. So I was not the only gaijin in attendance, but for sure as common the only one of color. No one seem to care as usual.
 
I was able to take some pictures no one seems to care and others did so as well. However I was discreet about it and had my smartphone set to quiet mode for pictures. I had serious camera the Nikon with me, but did not use it until near the end and a small bit outside.
 
It was not a life changing experience, by sound or vision, but it was interesting. The temple itself was basically the size of a small house. About the size of my Sensei’s house as he told me at my next class. Anyway it was a good day to be out.
 
I went out for a Lunch break to a local Indian shop I passed on the way. I wanted something small but tasty. I order tomato soup and samosas. The samosa were small, the soup was so so. I asked of they had some traditional sauce instead of catsup for the samosa. No they said. disappointing. I am finding it is hard to find that in Japan. Only one place I have been to had the real deal. That place is near my home but not easy to get there and a lot of walking. I have only been once. Anyway. I finished my lunch as was leaving, the guys asked me if I was from India! Ehh? I said no California and went back to the temple.
 
There were about 50 or more players throughout the day, so it was still going on when I got back. Another member of my group was player #48, the last of people I knew. I sat I waited, I listened, I nodded off as did others. One guy was even snoring. I was able to move off the floor on to one of the seats vacated by people who left. That was nice beside my legs being tired it was also a spot in the sun, it was chilly in the temple so that was nice in the sun. Finally it was a wrap for me and I slipped out to head home.
 
The ride home was uneventful, other than at one location a large group of very young school kids with the handlers got on the very crowded car. One poor thing was so tired she was falling asleep standing, the handlers kept trying to hold her up. It was cute, poor thing. I find out later the reason the line was so crowded was there was a bomb scare earlier and all the trians were stopped for most of the day. Missed out on that part by being at the temple. Lucky me coming and going!
 
My Shakuhachi class was the next day. I showed my Sensei the printed program for the concert. He knew most of the people and gave me some info on the temple and groups.
 
I had also asked him earlier about how to become a real Komuso and what could be done? His student had said joining Kokokuji was costly. Sensei said he would check into it. He had some info for me by that time. Another friend of his was a komuso director at Myoanji. It was not that complex a task for there. He could make the needed introductions to this person and arrangemnts could be done. I was also told by my group member it could be arranged. He translated some information that had been checked on by other members. So now armed with a clear info and a path from two directions I should be official by the spring as I had hoped. Yatta!
 
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Impermanece

 
About two years ago, maybe more , I was asked to play at a cafe called Snafkin by my Kyudo sempai. He was going to do a Shakuahchi concert there and wanted me to play bass with him and another Sempai. It was fun. I went by the club on my own before and met the owner. Very very nice people. The wife spoke English, the husband, the master ( Japanese term for the club owner ) only spoke a little. Both also played music, he guitar, sax, a little this and that. She played piano, both also sang. It was a comfortable place. 
 
From time to time I would go by on my own for lunch or something. I became somewhat of a regular. I met a lot of nice people through there. Also some people outside of there who knew about the place. Whenever I went by I was asked to play and or sit in for a session. It was nice. 
 
The cafe was right next to the bay, you could sit and eat and watch the bay. There were a lot of instruments there you could play while visiting. I got to know some nice people and good musicians there and through there. My picture was placed on the wall. The owner’s wife knew I was not a meat eater, so would fix me something special when I came by to eat. Soon I could just ask for the Fuu special. She and I at times did a song together, like Summer time. She would sing in Japanese and play piano, I would sing in English.
 
I was in a couple of concerts they put on, which also helped me meet people. At the last concert I did for them I was shocked to see the master in a wheel chair. He had had some type of head operation earlier that year or there about, but had recovered. So it was shocking to see him in a wheel chair. I got more details at that time, but still thought it was only temporary. 
 
I do not have enough words to express the feeling of comfort the cafe gave to people who went there. I could go eat and practice on something, sometimes the master would help me with a Japanese song I wanted to know. The last outdoor concert he sat in with my group playing guitar even though in a wheel chair. Over the last couple years the shows I did without the Matsuo Blues band were mostly all from the contact I made with the percussionist I met at one of the cafe’s concerts. It really gave me the confidence to be out there on my own again and do something besides just play bass.
 
A friend from working at Aoki Boat school, also a musician and a regular at the Snafkin club sent me a Facebook message which was posted by the master on Facebook. I had seen it when posted, but did not pay much attention to it as it was in Japanese. She sent it to me directly, so I had it translated thinking it must be important. It was saying the cafe was now closed do to the illness of the master. He condition was non-reversible ! I was shocked. It also said please come by if able.
 
I responded to her and said I would visit. As did many just today (that day). My friend was there early and left and I did not get to see her. I was the last to show up. The wife said that was good as it was so busy earlier and crowded, my timing was good as I could spend some time with the master.
 
He was in good spirits and pleased to see me. As other had said his face was peaceful and he looked good even though he could not get out of bed and only had the use on one arm left operational. He was in the cafe , facing the picture glass window looking out over the sea. We spoke for a bit in Japanese and through his wife in English. She was smiling and being strong but fighting back tears as we talked, as I am while I write this. It was sad yet we all had to show a strong face as did the master.
 
I told the master how thankful I was to have made contacts through him and the club of the people who came there. This was a common statement by all that came I was told as well as what I read on-line. It is a blessing to know you made and difference in people’s lives and to be told that while living. She said they had planned to keep the cafe for 10 years, they made it for 5.5 yrs. There are other cafe’s around but this was unique.
 
So weird to say goodbye to people, you know are soon leaving this world, and yet a treasure, a blessing for both self and them at the same time. Arigatou Master. Amitoufo . _/|\_

Shakuhachi roots pilgrimage-Nara

Pilgramage – Nara

 
I was planning to go do Komuso training last week in Nara. However, the Universe over rode my plans saying, do what you want , but I am sending a big Typhoon your way that day. Hmmmm, ok I thought, maybe I should change my plan, to stay in Harmony with the Tao. I cancelled.
I told this to my Sempai he said, on Thursday I will be hosting Ramos sensei and his pilgrimage group. Not those words, but that was the jest of it. I thought cool, I am off that day, I will go to meet Alcvin Sensei and his group. This was something he does every year. Travel from end to end of Japan checking out Shakuhachi related places, people, things. It was set.
 
The day started out a bit chilly, but the forecast was good. I was up a 5:00am in order to get there on time. As it turned out they arrived in Nara at 6:45am. No way I could make that, so I went to Sempai’s house. I had a bit of a hassle with the trains. The pass my wife got did not work on JR train line, so I had to pay when I switched lines. Ok, no biggie, I made it to Nara. I got on the bus for the final leg, but did not check the number, just jumped on the bus at the platform I was told. Hmmm, i thought is this the right one? I wanted to ask the driver but the bus suddenly got packed with school kids. So I waited. A bit later some left, but many stayed. I excused myself through the crowd and asked the driver. Is this the right bus to blah blah. Eh? He says. I say it again. He looks at the name, and asks where am I going? He sees the name, and asks me again, he repeats the name and points in another direction, this went on for several rounds. I am getting the idea I am on the wrong bus. Then he says ohh blah blah blah, which is what I said in the beginning and showed him. Ok, a little further he says finally. Sigh! Ok I make it to the stop, I get off and nothing looks like I am expecting, no temple as a marker! Hmmmm. I walk around a bit. I stop at a police station, a cop gives me directions. I am where I need to be, just walk a little. Ok, I walk down the street make the turn and I hear Shakuhachi sounds. I follow, and Success, I make it! Fairly on time. There is one other person still coming , so I am not the last. Introductions are made all the way around. There are people there from the Netherlands, Switzerland, Canada and the States. We chat have tea, and cakes and get organized to leave on our journey for the day.
 
As we gather outside the other person shows up and we are all together and set off. The plan is to hike through the woods, over the hills on an old trial to somewhat abandon forest temple, then into Nara. The day is good for walking, not hot, not cold, bit comfortable. I encounter a spirit guide on the way.
We walk about half way to the temple and find the road is blocked by a landslide from the Typhoon. We turn back and take another trail.
We make it to our first stop, the temple. Many of us who dressed warm un-layered the extra clothes.
A bit of a chat and we are off through the bamboo forest, over the hill and into Nara. Our group is about 10 strong. Everyone is chit chatting and enjoying the hike. Talking about Japan history, Zen, shakuhachi, this and that, that and this.
 
We make it to our next stop, another temple. This one is fully functional and open, one has to pay to enter. Not much about $4.50. Clean well-kept, nice toilets, clean grounds. We, some of us spend some time inside one of the temple doing Zazen.
Afterward we take a break outside and everyone has lunch. We can see over the city from this spot on the mountainside. It is pleasant under the trees overlooking Nara and the surrounding area.
 
We set off again, to another area. Up stairs, down stairs, etc etc and arrived in another couple of temples. At this time the crowds are starting to picking up. We did a little bit of playing shakuhachi along the way, but not much. We do this along the way making our way through the varied shrines and temples. Chatting , taking pictures, enjoying the day. 
 
Around 2:00 pm we stop at Sempai’s wife’s work place. There the group does some shopping for kitchen knives. We have tea, fresh-baked cakes, ice cream. Some go outside and play shakuhachi for the passersby. Even collecting a few donations. I stayed inside and played guard over all the equipment left.
For some reason, I took the responsibility of keeping track of everyone and their stuff during the journey. Watching the stuff in the shop, keeping track of everyone not getting separated during the walk. My nature I guess, I noticed I was doing it, a lot at one point on the trip.
 
We walked more, took pictures, visited the great Buddha and just in general did the tourist thing.
It was a good day. I did not wear my basket much, I hand-held it and my arm got sooo tired! That was the hardest part. But that in a way is part of the training to endure.
 
About 4:00 the group was ready for dinner, and I was ready to catch my train back to Osaka. They went off to an “Izakaya” . Which is kind of like a bar that server food. Rather than go and get home late. I said my farewells. I headed first to a local pickle shop to pickup a few bags of fermented pickles to take home, then caught my train. This time I took the one that the travel pass worked on, so that was good. I am still hand carrying my newly acquired “Tengai” which is the basket hat worn by Komuso. I did not wear my kimono that day, but a casual Samue, traditional Zen monk work clothes. No one really paid me any real attention. Except one group of older ladies who saw me enter the train car and I hear “a Komuso”.
 

 

 

Sound steps


Sound steps in MusicWorld,

 
It has been a busy couple of weeks. I was in a concert last week at the community center in the next township. I did a solo well mostly solo, I wrote about this already right?
I was just invited to perform at another show in Dec at the marina where I work sometimes. I am not sure if I should try to put a small band together or just go solo with the percussionist. Hmmmm, I have some time to think…some time.
 
I finished my latest song with Shakuhachi. A tune called Tamoko. It was somewhat difficult, at least parts of it were. I am fairly comfortable playing it now. It is my favorite now. So I have two full Honkyoko songs now under my belt from my Sensei after 2.5 yrs of study. I also have the song from the other group, a Komuso tune. So that is really three Honkyoko songs. Honkyoku songs are traditional Shakuhachi songs. It is good timing on cutting back now to one class a month. I have the basics. I can develop details now as I go along and practice. Also with the other group, the 2.5 flutes I will still be learning so really it is still lessons twice a month when I am able to attend there is not pressure. 
 
I had my second Shakuhachi recital yesterday at the community center again in the next township. It was a fairly good turnout considering the limited interest in Shakuhachi music. There was koto and guitar accompaniment for some of the players. I only had me. I did ok, no mistakes so yeah, that was a cool thing, sensei was pleased. After the recital we the student and sensei went to dinner. Sensei and I did a quick stop at a music shop before dinner. That was interesting. The shop does repairs to shamisens. Nice to know, i have wanted to get a replacement shamisen for the one lost with the boat, but the cost has been the hurdle. I have seen ones that are broken, the skin, going for cheap. However I had no idea where to have the cover replaced, now I know. They use real animal skin to replace 😦 . Cat and something else. Cat cost the most. That made me sad , not the cost but the use of the Cat skin still. 
 
From there we went to dinner. I was somewhat concerned that I would not have much to eat, bummer for my 50.00 payment. However it worked out ok. I had indian curry for lunch because I did not know what to expect. However it was all good, I had some sashimi, salmon pot pie, veggie tempura, miso soup. There was to be as much as you can drink , drinks, but, my chuhai was weak, mostly sweet, got zero buzz. Sigh. Anyway. The whole thing with me going was to talk with my Shakuhachi Sempai. He is on staff at the Kokokuji temple, a priest and leader of some type for the Komuso. He gave me some background on the kokokuji temple and shakuhachi. He said a license is needed for Komuso, unless I am with an already licensed player. He also said , yearly dues are not bad , but the two Kimonos required are expensive. He said he did not recommend my joining, which was not difficult. However because of the kimono cost I would/maybe better off just going around with my friend. The komuso gear for the Kyoto temple and the wakayama temple are different. He said there is a call and answer tune Komuso play when they encounter another, this tells if they are real or not. So the small chat was interesting and helpful. I will see how things develop with the group I am with now in Osaka, if it falls a part or gets too weird I can join the Kokokuji group now that I have a connection.
 
I have been invited to do a couple of shows as a bass player for some visiting harp players from out-of-town. One show is next month, the other in January. This is the club I went to a few weeks ago with the Doctor. The one where he asks me to play with him in a talent show, then has me do the singing on songs he picked at the last moment. He did one and messed up! Yeah, so it was good I went anyway, I got this connection with the club owner from that trip. I had told the owner I was looking for a band, if he knew of any looking for my skills. He came through. Hopefully this will lead to other things. So far my group playing has been a disappointment. So I have three music projects on going. 1. blues Band, 2. Solo act, 3. Shakuhachi. The shakuhachi project is a mixed bag, Buddhist and traditional songs so far. I want to at some point bring the shakuhachi into the blues field, but I need a “modern” tuned Shakuhachi for that. I have not gotten that as yet. Finding one I can afford may take some time. Sensei did not like the one I purchased from NY. So my quest continues. I may not consult sensei on the next one, if my Sempai from the local Shakuhachi group can make one for me, reasonable.
.
 

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.

 

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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Sakai Blues festival


Blues in Sakai

 
There is an annual Blues Festival in The city of Sakai Japan, which is in South Osaka. It is a small city, city not a town. I am not sure how long it has been in effect this show. This is the third year I know of.
However last year was the first I played in it, with the Doc’s Blues band. We played in a little bar in the basement. There are several venues in operation during the two day event. There is a main stage out door, where the “names” play, and there are two other small venues, such as the bar, where we played.
 
 
Last year our first year, was pretty sad, so I thought, rushing to set up, small space, too many people packed in. The Doc did all of the singing, afterward says ohh, I should have had you sing a song. Whatever, I thought. Not really a big deal, he wanted the spot light so, no problem. We did not even know what songs we were doing until just before the show, or he decided once we were on stage. I no longer let that bother me, and just roll with it.
 
This year, we were back. That was a surprise. We had to go play at a Jam session by one of the promotors, but that was easy and did not go badly. So yeah this year we were back. Sorry no good picture. The drummer pressed for a meeting before hand to go over what songs we were to play. I am glad he took the effort, because I am done with trying to have the band look professional, much less sound professional. 
 
We meet for lunch just before the show and talked about what songs, etc. Helpful. Although the songs were picked weeks ago or longer, but the Doc said nothing until the night before. Sigh.

So we roll up, walk up really, to the club after lunch, figure out some setup details and go setup at our time.again a rush, but not so much this time. We went through the songs mostly with out any gliches…mostly. The crowd like when I did Mustang Sally, and some danced. It was a good set. The drummer and I took off right afterwards. We stopped over at the main stage area and checked out the all girl band that as playing. Turns out the leader is the owner of Chicago Rock daughter. Chicago Rock is a club we used to play at. I had spoken with the daughter before and said I wanted to see her band, however never made it back to do so. They were pretty good! After one song I left though, there was the rain happening. Vocals, two guitars, bass, drummer, full sound. Maybe this link will work to a video

 
The next day, Sunday I was back, this time not as a musician, but as a photographer and reporter .
I was going to do an interview of one of the performers. The interview is for a website called BlackTokyo.com. I was interviewed and a podcast was made when we were in Kamakura. The owner is a friend of many years. The person I was interviewing today is pretty well known around this area and is also from Philly. We have met several times and she did a couple of songs with us before. She is good, vegetarian, buddhist, animal rights supporter. I planned on hooking up with her after her show.
 
I arrived just before she went on and so I wandered around. I knew she would be busy before the set. I chatted some with the owner of Chicago Rock, who is a sponsor of the show.
There was also another band whos members I know, at least the leader and sitting in trumpet player, who were playing right after my friend Davina was done. I was not asked but I could tell by how excited he was seeing my business Nikon, that he wanted me to take some pictures. It was during my interview time, but I would make the effort.
 
I got a little bold on where I walked and took pictures, since I knew a sponsor and several of the attendants, knew me. Only once was I asked about having a staff pass. I just said I am with blah blah, and it was dropped. The band were good, it was pretty fun just hanging out doing some shots, then speaking with my friend afterward, in English. That was nice I could relax and talk for a change.
 
My only regret is that my guys do not want to put in the effort to be good enough to play main stage. I am toying more with the idea of my own group more. Even playing in one of the basement venues next year as a start. I need to give more thought to who would play with me. I would love to do some serious funky blues. No one I saw is doing that. Well my friend Davina is close. 
 
Anyway the festival is wrap for this year. I need to give some serious thought to a game musical game plan. Next weekend I am doing a couple of song with the Jazz band folks and the following I will sit in with the mix Jazz group at Snafkin. I was invited today to do play at a show at Tajiri Marina in Jul, for some event. This is where I work. They had a show there on the same day/ night as the blues fest. The friend, the percussionist who set me up with a recent gig for charity invited me to this. Now I need to think of band members. I know a couple of keyboard players and a drummer. I am thinking a female keyboardist who speak some English, and a female drummer, who does not. She is not that good, but she is steady, I like that. I know a couple of female horn players. It maybe a good gimmick, me with a Japanese mostly girl band. I will see how it all flows as time goes on.

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…