-------------------------------1069542688
The following is a recent interview with John Singer by Brian Ritchie. I
thought it might be of interest to those on this list.
Ken LaCosse
------------------------------------------------------------------------------
-----------------------------------------
REGARDING EDO AND OTHER ANTIQUE SHAKUHACHI: AN INTERVIEW WITH JOHN SINGER
BY BRIAN RITCHIE 11/2003
John Singer is a Bay Area shakuhachi player and
teacher. He has recently released a CD "Zen Music with
Ancient Shakuhachi" which features many different Edo
and early Meiji flutes performing Honkyoku. John asked
me to conduct an interview with him for his website
(http://zenflute.com/index.html) to draw out the
philosophy behind his use of these instruments.
John is also an avid collector of Edo shakuhachi and
other fine shakuhachi of later eras. Besides
collecting instruments for himself he brings
shakuhachi into this country for other players. That's
how I met John, and many of my favorite instruments
came from him. John also supports the work of a
handful of contemporary makers who are trying to make
flutes in the old style.
John is highly opinionated and there are few people
who will agree with everything he says here. But I
think some of his ideas are interesting and
provocative. This interview, which was conducted via
email, is a window into the activities of an unusual
person dedicated to his own vision of shakuhachi.
Check it out,
Brian Ritchie
Brian: Besides your musical credentials you are well known for your obsession
with the flutes themselves. What difference does it make what kind of
shakuhachi someone plays? Isn't a flute a flute?
John: I have a great passion regarding the different shakuhachi. I have found
in my own experience that it is important to me what kind of flute I use, as
each instrument has its own voice. This is also expressed usually in terms
such as tone color and overall sound. And these qualities can be subdivided into
numerous other qualities such as depth (fukami), brightness (akarusa),
Darkness (kurasa), softness (yawarakasa), harshness (yakamashisa), hardness (katasa)
etc. So, in terms of the overall sound produced, the flute makes a huge
difference. In addition, the way each instrument vibrates and affects one's body
differs not only between the flutes of different makers and periods, but also in
those different instruments made by the same person. This quality is sometimes
referred to as "Chikuin" but it goes much deeper than that. The concept of
Chikuin is really too generalized. Now after having said all this the importance
of one's own development in blowing Shakuhachi cannot be over-emphasized. One
must have a pure intention both when practicing and performing shakuhachi.
Different people of course, have different intent regarding Shakuhachi. I am
only concerned with and responsible for my own, and to a much lesser extent, with
that of my students' intent. Mine is always to find out how each instrument
wants to be played and to produce the purest sound I can. This is a process and
a never-ending goal or focus. If one loves this process, then one loves
shakuhachi. I have noticed that those who simply love the process of picking up the
bamboo and blowing it are the ones whose intent is pure and these people
never quit. And those who have other intentions such as showing off, fame,
mastery, whatever, are those who, in my opinion, don't essentially love shakuhachi
and are using it with some other agenda in mind.
Brian: Could you explain what you mean when you say pursuit of mastery is
contrary to the love of shakuhachi?
John: In and of itself the desire to improve oneself on the Shakuhachi can be
compatible with a true love of the process. Usually, however, I have found
empirically (from my own 20 years of teaching experience) that the focus
on"Mastery" has more to do with a persons fantasies and ego, and wanting to
attain some status or power, and this can be counter-productive to shakuhachi
practice and study. And I believe it is counter to the spirit of the
instrument to have an obsession with a mastery of it. I often receive inquiries about
shakuhachi study. If someone asks, "how long will it take to master it? " then
I can be reasonably sure they have a motive which really has nothing to do
with a love of shakuhachi and the process it involves, which, by the way, never
ends. The term "Master" is mis-understood by most westerners to mean that one
has complete control and dominion over something. Rather, in the context of
shakuhachi it should mean a certain degree of competency. Someone who received
their black-belt in a martial art
has not mastered it, but rather has achieved a certain level of training to
the degree that they can begin to teach that discipline.
Brian: When did you develop an interest in Edo period flutes?
John: I developed an interest in the Edo period Shakuhachi from the time of
my very first lesson with Yamaguchi Goro Sensei. He had a few Edo period
Shakuhachi which were his father's, and he very generously repeatedly loaned them to
me and let me try them. I noticed that many shakuhachi made by his father,
Yamaguchi Shiro, had many (but not all) of the qualities of those Edo
instruments. This was some 25 yrs ago and I was not to be introduced to Edo period
instruments again to any meaningful degree until around 6 or 7 yrs ago when I met a
very avid collector. At this time I often would bring different Edo period
instruments to Yamaguchi Sensei to show him. He really enjoyed seeing and
playing them and always encouraged me to pursue my passion regarding the ancient
Shakuhachi. Then he passed away and I have continued to move in this direction,
studying different historical shakuhachi and visiting collectors and antique
dealers all over Japan. Inoue Shigeshi Sensei (the iemoto of the Kinpu Ryu) also
in possession of the very special "Soke" ( most important Edo period Kinpu
Ryu Shakuhachi to be possessed only by the iemoto) often let me play this
instrument and encouraged me to learn as much as possible about the Edo and Meiji
period Shakuhachi. I believe that both Yamaguchi Sensei and Inoue Sensei used
their Edo period instruments privately for their own education and pleasure.
Brian: Do you teach with Edo period flutes? Why or why not?
John: Only in recent times have I begun to teach my more advanced students
using Edo period Ji-nashi instruments when I teach Honkyoku. This has developed
naturally as I no longer like using the more modern shakuhachi for honkyoku
and neither do my more advanced students, though I sometimes use my shakuhachi
made by Yamaguchi Shiro for Kinko Ryu honkyoku . I have been able to acquire
some very fine Edo and Meiji Ji-nashi shakuhachi for some of my students and
others who want to use these special instruments which were made for the specific
purpose of playing honkyoku by great Kinko & Myoan players (some of whom were
Komuso as well).
Brian: You underwent extensive training in the Kinko Ryu and also studied
Kinpu, Myoan and Tozan. To what extent do the Edo period flutes relate to these
different styles?
John: I have had extensive training in Kinko and Kinpu styles. To a lesser
degree I have learned Myoan and Tozan pieces but not in large number and very
carefully so as to not just collect a large volume of work. I am more interested
in trying to catch the essence of the Myoan Shimpo and Myoan Taizan styles or
spirit and the Tozan spirit as well. To me, quality has ALWAYS been more
important regarding the music, practice (in terms of practice time I believe it is
always better to put everything you have into a shorter focused practice than
to just practice half-heartedly for hours & hours), and the instruments I
use. The Edo period instruments are the precursors of all later shakuhachi. It is
interesting that nobody can duplicate the qualities of the Edo period
instruments. Edo refers to a period of time between 1600 and 1868 ad before the
introduction of western culture into Japan. The purity of tone color of the Edo
shakuhachi reflects this time period when Komuso priests actually roamed Japan
and shakuhachi was practiced for the most part as a form of Zen practice
(Sui-Zen), where the shakuhachi was used for different Buddhist functions (The
shakuhachi was also secretly used as accompaniment with the Shamisen and Koto as
early as the late 1700's (probably even earlier) as depicted in many Ukiyo-e
prints by Kiyomitsu, Kiyonaga, Koryusai, Harunobu and others).
Brian: Obviously the term "Edo" refers to a historical period, not an
aesthetic approach. Nevertheless flute construction changed quite a bit in the years
immediately following the Edo period. How would you describe the differences
between Edo period shakuhachi and those of later eras? Besides the time period
in which it was made, what makes an Edo shakuhachi unique?
John: In words it would be an injustice to try and describe completely the
real differences between fine Edo shakuhachi (there were poor ones just as there
were poor later shakuhachi made by every maker no matter how famous). They
must be compared carefully by being played and heard. In this way only can the
differences be fully understood. In a way it is fortunate for me that most
Japanese and foreign shakuhachi players have not had a chance to do this (these
instruments are extremely rare) as I'm sure those who are of the same intention
as I would be shocked at how much more responsive and pure the fine Edo
instruments are. Performing Honkyoku on a fine Edo Shakuhachi is like coming home!
There are also fine Meiji and later instruments. To make it simple for others
(though not complete) I make a distinction between Edo and early Meiji
shakuhachi made primarily for honkyoku and fine concert shakuhachi (most of which
began with Araki Chikuo who lived thru the late Edo and Meiji periods. There are
finer differences of Edo and Meiji instruments of different time periods
within Edo and Meiji times and instruments from the different areas of Japan,
later of different shakuhachi of different schools and different time periods
within each respective school. To know these differences takes a great deal of
study and exposure to hundreds of these shakuhachi which I fortunately have had.
This, I believe, can only be learned experientially.
Brian: Your new CD is a double, with one CD of Kinko pieces and the other of
Myoan and Kinpu Ryu. Presumably you learned the Kinko repertoire on the more
standard ji-ari shakuhachi which are commonly used in teaching. You have
performed and recorded many of the Kinko pieces on ji-ari concert shakuhachi. What
adjustments did you have to make to interpret those pieces on your Edo period
flutes?
John: My performance of Honkyoku changed when I began using ji-nashi
historical shakuhachi, I believe with these flutes the performance must be more
precise and delicate, with less emphasis on volume and power.
Regarding the recording, "Zen Music with Ancient Shakuhachi", I did this
because nobody (with the exception of Mr. Satoshi Shimura who recorded only 4
pieces using two instruments on cd as an attachment to his fine book on Kokan
(ancient) shakuhachi) else was willing or able to do it. It was a great learning
experience for me to use 11 different great Edo and early Meiji shakuhachi to
perform 16 honkyoku of four different styles. This type of recording needed to
be done, I feel, in order to expose the wonderful sound of the ancient
shakuhachi. This concept has been employed in western classical music and needed, I
think, to be carried out with the shakuhachi. The photos and liner notes make
it possible for the listener to see and find out about the specific flute as
they are hearing the piece. The Edo and early Meiji Ji-nashi shakuhachi, if you
are receptive, will communicate to you how it wants to be played. If you exert
your will too much, the instrument will not respond well. So for me the
adjustment is always to be receptive to the flute. This is also the case, by the
way, with shakuhachi of later times but to a lesser degree.
Brian: Are Edo period flutes in tune with modern shakuhachi, in tune with
themselves, in tune with the tuning systems of a bygone age, or just plain out of
tune? What would you say to a modern player who tries one of your flutes or
hears your CD and says, "That's out of tune!"? Are you sacrificing musical
accuracy for tone in any instances?
John: If I am sacrificing musical accuracy in pitch for tone quality, it is,
in my opinion, well worth it, as a good player can make any necessary pitch
adjustments. However, I have Edo shakuhachi tuned at D440MHZ and others pitched
differently. Hisamatsu Fuyo and Araki Chikuo definitely worked toward a more
uniform tuning. The great shakuhachi are of course always in tune with
themselves more or less but one must remember, even with the most modern of
shakuhachi, tuning in part always depends on the player. One must be careful in judging
shakuhachi according to pitch. Almost always, adjustments in performance must
be made. Sometimes each note must be played differently and this takes
receptivity and skill, which few seem to have. This is less so with shakuhachi made
with cement in the bore but still so nevertheless. To play the early ji-nashi
instruments well the player must be extremely flexible and open to change in
addition to being very skillful.
Brian: The difference between modern, fully lacquered shakuhachi and jinashi
Edo period ones is fairly obvious. How would you describe the differences
between Edo period jinashi flutes and jinashi flutes constructed by modern makers?
Wouldn't it be possible to construct shakuhachi with the same methods today
and get similar results?
John: The great shakuhachi makers of the early 20th century had some direct
exposure to Edo and early Meiji shakuhachi from their teachers and others. The
players and makers today, for the most part, have had no such experience. I
believe, for them, this is a great handicap. The difference between modern and
Edo and Meiji period Ji-nashi is in the quality of the tone color and overall
character, which is lacking in the modern Ji-nashi instruments. When comparing
instruments in general from both periods this both huge and subtle difference
in quality is obvious to me but difficult to describe to the inexperienced. It
is like trying to describe what it feels like to swim in the ocean to someone
who has never been there. Remember, the bamboo & urushi is much different in
quality to what is being used today to make Shakuhachi as is the mind-set and
perception of the world of the Edo period shakuhachi maker/player. This, I
believe, greatly affects all aspects of the sound and response of the instrument.
To those who believe that the material makes no difference I say that they
are ignorant and lack the necessary receptivity to tell the difference. To those
who can, it is quite obvious how important the material is.
Brian: Is the bamboo used in previous eras different in any way than the
bamboo available today? If so, why? Do you think this affects the tone of an
instrument?
John: The bamboo of previous eras was different in quality to that which is
used today. There is no question to me that the earlier bamboo is of much
higher quality. Even my teacher, Inoue Shigeshi (one of the great Kinko shakuhachi
makers of the mid to late 20th century), had many ways that he graded the
bamboo and this knowledge was passed down to him by his Father, Inoue Shigemi. The
criterion used today by modern shakuhachi makers is much different, having
more to do with coloration on the outside surface and shape so as to make it
sellable as a goods for sale instead of a masterpiece of art.
Brian: Your CD has extensive liner notes describing the origins and makers of
the shakuhachi. Why is this important to you?
John: It is important to me in that it helps me share the flutes and music
more completely with the listener. The emphasis of the recording is the concept
behind using the Ancient flutes to perform the Ancient Honkyoku, and not
necessarily on John Singer.
Brian: When you play a flute made by a certain historical player how does
this affect your performance? Is it something you think about?
Whenever I play a shakuhachi made by a certain player (if I know who that
person was, all the better) it is valuable to me in that it reveals that makers
understanding and perspective of shakuhachi at the time that particular flute
was made. This adds another deeper dimension to my own practice and enriches my
life immensely.
Playing a flute made by a certain historical player provides the opportunity
to find out that persons intention and understanding of Shakuhachi. This is a
great gift. And this is an example of another great gift of Japanese history
being ignored by the modern Japanese just as Ukiyo-e prints were ignored by
them and taken away by foreigners until the Japanese realized, after it was too
late, just how much they lost in their ignorance. The term meaning to "ignore".
It is lucky for me that this is the case as it has allowed me to collect some
very fine historical shakuhachi.
Brian: You have played shakuhachi for close to thirty years, speak Japanese,
know many people in the shakuhachi world in Japan and have the means and
access to acquire Edo period shakuhachi. Most shakuhachi players, particularly in
the West will never see or play these flutes. You can't just walk into a store
and buy an Edo period flute, or order one on the internet. Do you ever think
that you are involved in a pursuit that is overly esoteric or out of the
shakuhachi mainstream? What would you say to people reading this who say, "Good for
you John, but who cares? I couldn't follow this path even if I wanted to. I
think I'll stick with what I'm doing"? Do you think playing Edo period
shakuhachi has any relevance for modern players? What would they gain from it?
John: With regards to your last long set of questions, yes, I guess I could
be considered to be out of the Shakuhachi mainstream. Regarding anyone who
might say, "good for you, but who cares" of course the answer must be and is, "I
do!" You see anyone who knows me understands that I'm not involved with
shakuhachi to please anyone but myself. If I can share and assist other SERIOUS
people along the way, that is fine. I don't care if anyone "follows" this direction
or not. That has nothing to do with me and not my responsibility. In the
natural course of things those who are meant to be drawn to this aspect of
shakuhachi will be, and vice versa, which is as it should be. I believe there is
great relevance for modern shakuhachi players to re-connect with the rich
historical past even if, god forbid, it might take some great effort of their part. It
is my feeling that most modern shakuhachi players are concerned with showing
off technique or volume and trying to impress others (a complete waste of time
from my point of view) and becoming famous. Most Shakuhachi makers are
concerned with making a living and putting their kids thru college sometimes at the
expense of creating really fine shakuhachi.. You say that most shakuhachi
players in the west may never see or play the Edo or Meiji flutes. My response is,
"not if I can help it!". As you know, I've been and will continue to bring in
for sale the quality antique shakuhachi I can find for others to enjoy and
learn from. And I will continue in this direction of recording, teaching and
performing with ancient shakuhachi, I hope, as long as I breathe.
-------------------------------1069542688
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<DIV>The following is a recent interview with John Singer by Brian=
Ritchie. I thought it might be of interest to those on this list. </DIV>
<DIV> </DIV>
<DIV>Ken LaCosse</DIV>
<DIV> </DIV>
<DIV> </DIV>
<DIV>-----------------------------------------------------------------------=
------------------------------------------------</DIV>
<DIV> </DIV>
<DIV> </DIV>
<DIV>
<P><B>REGARDING EDO AND OTHER ANTIQUE SHAKUHACHI: AN INTERVIEW WITH JOHN SIN=
GER <BR>BY BRIAN RITCHIE 11/2003</B>=20
<P>John Singer is a Bay Area shakuhachi player and<BR>teacher. He has recent=
ly released a CD "Zen Music with<BR>Ancient Shakuhachi" which features many=20=
different Edo<BR>and early Meiji flutes performing Honkyoku. John asked<BR>m=
e to conduct an interview with him for his website<BR>(http://zenflute.com/i=
ndex.html) to draw out the<BR>philosophy behind his use of these instruments=
.=20
<P>John is also an avid collector of Edo shakuhachi and<BR>other fine shakuh=
achi of later eras. Besides<BR>collecting instruments for himself he brings<=
BR>shakuhachi into this country for other players. That's<BR>how I met John,=
and many of my favorite instruments<BR>came from him. John also supports th=
e work of a<BR>handful of contemporary makers who are trying to make<BR>flut=
es in the old style.</P>
<P>John is highly opinionated and there are few people<BR>who will agree wit=
h everything he says here. But I<BR>think some of his ideas are interesting=20=
and<BR>provocative. This interview, which was conducted via<BR>email, is a w=
indow into the activities of an unusual<BR>person dedicated to his own visio=
n of shakuhachi.</P>
<P>Check it out,</P>
<P>Brian Ritchie <BR></P>
<P>
<P>Brian: Besides your musical credentials you are well known for your obses=
sion with the flutes themselves. What difference does it make what kind of s=
hakuhachi someone plays? Isn't a flute a flute?</P>
<P>John: I have a great passion regarding the different shakuhachi. I have f=
ound in my own experience that it is important to me what kind of flute I us=
e, as each instrument has its own voice. This is also expressed usually in t=
erms such as tone color and overall sound. And these qualities can be subdiv=
ided into numerous other qualities such as depth (fukami), brightness (akaru=
sa), Darkness (kurasa), softness (yawarakasa), harshness (yakamashisa), hard=
ness (katasa) etc. So, in terms of the overall sound produced, the flute mak=
es a huge difference. In addition, the way each instrument vibrates and affe=
cts one's body differs not only between the flutes of different makers and p=
eriods, but also in those different instruments made by the same person. Thi=
s quality is sometimes referred to as "Chikuin" but it goes much deeper than=
that. The concept of Chikuin is really too generalized. Now after having sa=
id all this the importance of one's own development in blowing Shakuhachi ca=
nnot be over-emphasized. One must have a pure intention both when practicing=
and performing shakuhachi. Different people of course, have different inten=
t regarding Shakuhachi. I am only concerned with and responsible for my own,=
and to a much lesser extent, with that of my students' intent. Mine is alwa=
ys to find out how each instrument wants to be played and to produce the pur=
est sound I can. This is a process and a never-ending goal or focus. If one=20=
loves this process, then one loves shakuhachi. I have noticed that those who=
simply love the process of picking up the bamboo and blowing it are the one=
s whose intent is pure and these people never quit. And those who have other=
intentions such as showing off, fame, mastery, whatever, are those who, in=20=
my opinion, don't essentially love shakuhachi and are using it with some oth=
er agenda in mind. </P>
<P>Brian: Could you explain what you mean when you say pursuit of mastery is=
contrary to the love of shakuhachi?</P>
<P>John: In and of itself the desire to improve oneself on the Shakuhachi ca=
n be compatible with a true love of the process. Usually, however, I have fo=
und empirically (from my own 20 years of teaching experience) that the focus=
on"Mastery" has more to do with a persons fantasies and ego, and wanting to=
<BR>attain some status or power, and this can be counter-productive to shaku=
hachi practice and study. And I believe it is counter to the spirit of the i=
nstrument to have an obsession with a mastery of it. I often receive inquiri=
es about shakuhachi study. If someone asks, "how long will it take to master=
it? " then I can be reasonably sure they have a motive which really has not=
hing to do with a love of shakuhachi and the process it involves, which, by=20=
the way, never ends. The term "Master" is mis-understood by most westerners=20=
to mean that one has complete control and dominion over something. Rather, i=
n the context of shakuhachi it should mean a certain degree of competency. S=
omeone who received their black-belt in a martial art<BR>has not mastered it=
, but rather has achieved a certain level of training to the degree that the=
y can begin to teach that discipline.</P>
<P>Brian: When did you develop an interest in Edo period flutes?</P>
<P>John: I developed an interest in the Edo period Shakuhachi from the time=20=
of my very first lesson with Yamaguchi Goro Sensei. He had a few Edo period=20=
Shakuhachi which were his father's, and he very generously repeatedly loaned=
them to me and let me try them. I noticed that many shakuhachi made by his=20=
father, Yamaguchi Shiro, had many (but not all) of the qualities of those Ed=
o instruments. This was some 25 yrs ago and I was not to be introduced to Ed=
o period instruments again to any meaningful degree until around 6 or 7 yrs=20=
ago when I met a very avid collector. At this time I often would bring diffe=
rent Edo period instruments to Yamaguchi Sensei to show him. He really enjoy=
ed seeing and playing them and always encouraged me to pursue my passion reg=
arding the ancient Shakuhachi. Then he passed away and I have continued to m=
ove in this direction, studying different historical shakuhachi and visiting=
collectors and antique dealers all over Japan. Inoue Shigeshi Sensei (the i=
emoto of the Kinpu Ryu) also in possession of the very special "Soke" ( most=
important Edo period Kinpu Ryu Shakuhachi to be possessed only by the iemot=
o) often let me play this instrument and encouraged me to learn as much as p=
ossible about the Edo and Meiji period Shakuhachi. I believe that both Yamag=
uchi Sensei and Inoue Sensei used their Edo period instruments privately for=
their own education and pleasure.</P>
<P>Brian: Do you teach with Edo period flutes? Why or why not?</P>
<P>John: Only in recent times have I begun to teach my more advanced student=
s using Edo period Ji-nashi instruments when I teach Honkyoku. This has deve=
loped naturally as I no longer like using the more modern shakuhachi for hon=
kyoku and neither do my more advanced students, though I sometimes use my sh=
akuhachi made by Yamaguchi Shiro for Kinko Ryu honkyoku . I have been able t=
o acquire some very fine Edo and Meiji Ji-nashi shakuhachi for some of my st=
udents and others who want to use these special instruments which were made=20=
for the specific purpose of playing honkyoku by great Kinko & Myoan play=
ers (some of whom were Komuso as well). </P>
<P>Brian: You underwent extensive training in the Kinko Ryu and also studied=
Kinpu, Myoan and Tozan. To what extent do the Edo period flutes relate to t=
hese different styles?</P>
<P>John: I have had extensive training in Kinko and Kinpu styles. To a lesse=
r degree I have learned Myoan and Tozan pieces but not in large number and v=
ery carefully so as to not just collect a large volume of work. I am more in=
terested in trying to catch the essence of the Myoan Shimpo and Myoan Taizan=
styles or spirit and the Tozan spirit as well. To me, quality has ALWAYS be=
en more important regarding the music, practice (in terms of practice time I=
believe it is always better to put everything you have into a shorter focus=
ed practice than to just practice half-heartedly for hours & hours), and=
the instruments I use. The Edo period instruments are the precursors of all=
later shakuhachi. It is interesting that nobody can duplicate the qualities=
of the Edo period instruments. Edo refers to a period of time between 1600=20=
and 1868 ad before the introduction of western culture into Japan. The purit=
y of tone color of the Edo shakuhachi reflects this time period when Komuso=20=
priests actually roamed Japan and shakuhachi was practiced for the most part=
as a form of Zen practice (Sui-Zen), where the shakuhachi was used for diff=
erent Buddhist functions (The shakuhachi was also secretly used as accompani=
ment with the Shamisen and Koto as early as the late 1700's (probably even e=
arlier) as depicted in many Ukiyo-e prints by Kiyomitsu, Kiyonaga, Koryusai,=
Harunobu and others).</P>
<P>Brian: Obviously the term "Edo" refers to a historical period, not an aes=
thetic approach. Nevertheless flute construction changed quite a bit in the=20=
years immediately following the Edo period. How would you describe the diffe=
rences between Edo period shakuhachi and those of later eras? Besides the ti=
me period in which it was made, what makes an Edo shakuhachi unique?</P>
<P>John: In words it would be an injustice to try and describe completely th=
e real differences between fine Edo shakuhachi (there were poor ones just as=
there were poor later shakuhachi made by every maker no matter how famous).=
They must be compared carefully by being played and heard. In this way only=
can the differences be fully understood. In a way it is fortunate for me th=
at most Japanese and foreign shakuhachi players have not had a chance to do=20=
this (these instruments are extremely rare) as I'm sure those who are of the=
same intention as I would be shocked at how much more responsive and pure t=
he fine Edo instruments are. Performing Honkyoku on a fine Edo Shakuhachi is=
like coming home!</P>
<P>There are also fine Meiji and later instruments. To make it simple for ot=
hers (though not complete) I make a distinction between Edo and early Meiji=20=
shakuhachi made primarily for honkyoku and fine concert shakuhachi (most of=20=
which began with Araki Chikuo who lived thru the late Edo and Meiji periods.=
There are finer differences of Edo and Meiji instruments of different time=20=
periods within Edo and Meiji times and instruments from the different areas=20=
of Japan, later of different shakuhachi of different schools and different t=
ime periods within each respective school. To know these differences takes a=
great deal of study and exposure to hundreds of these shakuhachi which I fo=
rtunately have had. This, I believe, can only be learned experientially.</P>
<P><BR>Brian: Your new CD is a double, with one CD of Kinko pieces and the o=
ther of Myoan and Kinpu Ryu. Presumably you learned the Kinko repertoire on=20=
the more standard ji-ari shakuhachi which are commonly used in teaching. You=
have performed and recorded many of the Kinko pieces on ji-ari concert shak=
uhachi. What adjustments did you have to make to interpret those pieces on y=
our Edo period flutes?</P>
<P>John: My performance of Honkyoku changed when I began using ji-nashi hist=
orical shakuhachi, I believe with these flutes the performance must be more=20=
precise and delicate, with less emphasis on volume and power.</P>
<P>Regarding the recording, "Zen Music with Ancient Shakuhachi", I did this=20=
because nobody (with the exception of Mr. Satoshi Shimura who recorded only=20=
4 pieces using two instruments on cd as an attachment to his fine book on Ko=
kan (ancient) shakuhachi) else was willing or able to do it. It was a great=20=
learning experience for me to use 11 different great Edo and early Meiji sha=
kuhachi to perform 16 honkyoku of four different styles. This type of record=
ing needed to be done, I feel, in order to expose the wonderful sound of the=
ancient shakuhachi. This concept has been employed in western classical mus=
ic and needed, I think, to be carried out with the shakuhachi. The photos an=
d liner notes make it possible for the listener to see and find out about th=
e specific flute as they are hearing the piece. The Edo and early Meiji Ji-n=
ashi shakuhachi, if you are receptive, will communicate to you how it wants=20=
to be played. If you exert your will too much, the instrument will not respo=
nd well. So for me the adjustment is always to be receptive to the flute. Th=
is is also the case, by the way, with shakuhachi of later times but to a les=
ser degree.</P>
<P>Brian: Are Edo period flutes in tune with modern shakuhachi, in tune with=
themselves, in tune with the tuning systems of a bygone age, or just plain=20=
out of tune? What would you say to a modern player who tries one of your flu=
tes or hears your CD and says, "That's out of tune!"? Are you sacrificing mu=
sical accuracy for tone in any instances?</P>
<P>John: If I am sacrificing musical accuracy in pitch for tone quality, it=20=
is, in my opinion, well worth it, as a good player can make any necessary pi=
tch adjustments. However, I have Edo shakuhachi tuned at D440MHZ and others=20=
pitched differently. Hisamatsu Fuyo and Araki Chikuo definitely worked towar=
d a more uniform tuning. The great shakuhachi are of course always in tune w=
ith themselves more or less but one must remember, even with the most modern=
of shakuhachi, tuning in part always depends on the player. One must be car=
eful in judging shakuhachi according to pitch. Almost always, adjustments in=
performance must be made. Sometimes each note must be played differently an=
d this takes receptivity and skill, which few seem to have. This is less so=20=
with shakuhachi made with cement in the bore but still so nevertheless. To p=
lay the early ji-nashi instruments well the player must be extremely flexibl=
e and open to change in addition to being very skillful. </P>
<P>Brian: The difference between modern, fully lacquered shakuhachi and jina=
shi Edo period ones is fairly obvious. How would you describe the difference=
s between Edo period jinashi flutes and jinashi flutes constructed by modern=
makers? Wouldn't it be possible to construct shakuhachi with the same metho=
ds today and get similar results?</P>
<P>John: The great shakuhachi makers of the early 20th century had some dire=
ct exposure to Edo and early Meiji shakuhachi from their teachers and others=
. The players and makers today, for the most part, have had no such experien=
ce. I believe, for them, this is a great handicap. The difference between mo=
dern and Edo and Meiji period Ji-nashi is in the quality of the tone color a=
nd overall character, which is lacking in the modern Ji-nashi instruments. W=
hen comparing instruments in general from both periods this both huge and su=
btle difference in quality is obvious to me but difficult to describe to the=
inexperienced. It is like trying to describe what it feels like to swim in=20=
the ocean to someone who has never been there. Remember, the bamboo & ur=
ushi is much different in quality to what is being used today to make Shakuh=
achi as is the mind-set and perception of the world of the Edo period shakuh=
achi maker/player. This, I believe, greatly affects all aspects of the sound=
and response of the instrument. To those who believe that the material make=
s no difference I say that they are ignorant and lack the necessary receptiv=
ity to tell the difference. To those who can, it is quite obvious how import=
ant the material is.</P>
<P>Brian: Is the bamboo used in previous eras different in any way than the=20=
bamboo available today? If so, why? Do you think this affects the tone of an=
instrument?</P>
<P>John: The bamboo of previous eras was different in quality to that which=20=
is used today. There is no question to me that the earlier bamboo is of much=
higher quality. Even my teacher, Inoue Shigeshi (one of the great Kinko sha=
kuhachi makers of the mid to late 20th century), had many ways that he grade=
d the bamboo and this knowledge was passed down to him by his Father, Inoue=20=
Shigemi. The criterion used today by modern shakuhachi makers is much differ=
ent, having more to do with coloration on the outside surface and shape so a=
s to make it sellable as a goods for sale instead of a masterpiece of art.</=
P>
<P>Brian: Your CD has extensive liner notes describing the origins and maker=
s of the shakuhachi. Why is this important to you?</P>
<P>John: It is important to me in that it helps me share the flutes and musi=
c more completely with the listener. The emphasis of the recording is the co=
ncept behind using the Ancient flutes to perform the Ancient Honkyoku, and n=
ot necessarily on John Singer.</P>
<P>Brian: When you play a flute made by a certain historical player how does=
this affect your performance? Is it something you think about?</P>
<P>Whenever I play a shakuhachi made by a certain player (if I know who that=
person was, all the better) it is valuable to me in that it reveals that ma=
kers understanding and perspective of shakuhachi at the time that particular=
flute was made. This adds another deeper dimension to my own practice and e=
nriches my life immensely.</P>
<P>Playing a flute made by a certain historical player provides the opportun=
ity to find out that persons intention and understanding of Shakuhachi. This=
is a great gift. And this is an example of another great gift of Japanese h=
istory being ignored by the modern Japanese just as Ukiyo-e prints were igno=
red by them and taken away by foreigners until the Japanese realized, after=20=
it was too late, just how much they lost in their ignorance. The term meanin=
g to "ignore". It is lucky for me that this is the case as it has allowed me=
to collect some very fine historical shakuhachi.</P>
<P>Brian: You have played shakuhachi for close to thirty years, speak Japane=
se, know many people in the shakuhachi world in Japan and have the means and=
access to acquire Edo period shakuhachi. Most shakuhachi players, particula=
rly in the West will never see or play these flutes. You can't just walk int=
o a store and buy an Edo period flute, or order one on the internet. Do you=20=
ever think that you are involved in a pursuit that is overly esoteric or out=
of the shakuhachi mainstream? What would you say to people reading this who=
say, "Good for you John, but who cares? I couldn't follow this path even if=
I wanted to. I think I'll stick with what I'm doing"? Do you think playing=20=
Edo period shakuhachi has any relevance for modern players? What would they=20=
gain from it?</P>
<P>John: With regards to your last long set of questions, yes, I guess I cou=
ld be considered to be out of the Shakuhachi mainstream. Regarding anyone wh=
o might say, "good for you, but who cares" of course the answer must be and=20=
is, "I do!" You see anyone who knows me understands that I'm not involved wi=
th shakuhachi to please anyone but myself. If I can share and assist other S=
ERIOUS people along the way, that is fine. I don't care if anyone "follows"=20=
this direction or not. That has nothing to do with me and not my responsibil=
ity. In the natural course of things those who are meant to be drawn to this=
aspect of shakuhachi will be, and vice versa, which is as it should be. I b=
elieve there is great relevance for modern shakuhachi players to re-connect=20=
with the rich historical past even if, god forbid, it might take some great=20=
effort of their part. It is my feeling that most modern shakuhachi players a=
re concerned with showing off technique or volume and trying to impress othe=
rs (a complete waste of time from my point of view) and becoming famous. Mos=
t Shakuhachi makers are concerned with making a living and putting their kid=
s thru college sometimes at the expense of creating really fine shakuhachi..=
You say that most shakuhachi players in the west may never see or play the=20=
Edo or Meiji flutes. My response is, "not if I can help it!". As you know, I=
've been and will continue to bring in for sale the quality antique shakuhac=
hi I can find for others to enjoy and learn from. And I will continue in thi=
s direction of recording, teaching and performing with ancient shakuhachi, I=
hope, as long as I breathe.</P></DIV></BODY></HTML>
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