Welcome to the home of New York City performing artist and shakuhachi craftsman Perry Yung. In 2002, I received support by both the American and Japanese governments to specifically study shakuhachi making and playing in Japan. I received combined grants from the Japan-US Friendship Commission, National Endowment for the Arts and the International House in Tokyo that enabled me to travel throughout Japan to meet with both Zen and modern shakuhachi makers and master players. I was introduced to my main shakuhachi making and playing sensei, Kinya Sogawa, through my NYC shakuhachi teacher, Ralph Samuelson. Before I embarked on my journey to Japan, I had been performing on the shakuhachi in experimental theater productions internationally with La MaMa E.T.C. What I discovered in Japan was utterly fantastic and beyond the scope of an introduction. It would be both a privilege and honor to share that experience with you and encourage any questions what so ever. This unique flute is shrouded in the mysteries of ancient folklore and much of the information on the internet is a incomplete and biased. My Blog would a great place to start your explorations as my mission is the share the shakuhachi in the clearest light.

I was primarily a visual and performance artist having graduated from San Francisco State University with a BFA , Summa Cum Laude with an Outstanding Student award for graduating at the top of my class. My time in New York City was first spent honing my stage craft as a full scholarship student at the Martha Graham School of Contemporary Dance then by working with some of downtown NYC’s quintessential theater artists like Ping Chong, Fred Ho, Pan Asian Repertory Group, Theadora Skipatares, and Ellen Stewart’s Great Jones Repertory Group just to name a few.

I was introduced to the shakuhachi in both music and making through Yukio Tsuji and Genji Ito, two resident musicians of La Mama E.T.C. Shortly after, I studied traditional music under Ronnie Nyogetsu Reishin Seldin and Brain Ritchie before going to Japan to start my Japan/USFriendship artist residency. I studied making and playing in the Dokyoku style of Watazumi under Kinya Sogawa in Saitama, Japan. But, in order to truely understand shakuhachi making, I needed to understand the music of the shakuhachi without bias I also studied other styles of music - Jin Nyodo Kinko style under Keisuki Zenyoji (Jin Nyodo’s godson), Goro Yamaguchi Chikumeisha Kinko under Christopher Blasdel and modern techniques with Akikazu Nakamura. For shakuhachi making, I visited the workshops of Tom Deaver, John Neptune and Motofumi Tatekawa. And as part of my on-going studies, I continue to expand and hone my understanding of the shakuhachi by studying the most modern style known as Tozan Ryu. I also attended workshops in Japan and the US with master Kifu Mitsuhashi (Jin Nyodo) and did an intensive with Riley Lee to learn the Chikuho Notation system. These days, Ralph Samuelson is my main teacher but I am greatly indebted to all my wonderful, generous teachers whom I try to do justice by continuing to spread the shakuhachi with warmth and inclusion.

Performing aburanuki (oil removal) on newly harvested bamboo with Kinya in 2003

I was extremely fortunate to have had the opportunity to study not only with the great pillars of traditional shakuhachi music, but also with virtuosos of today’s modern music. additionally, I have worked with ordained Buddhist Monk Barry Daido Houun (大道法雲) Weiss and Ralph Samuelson to make shakuhachi for Zen workshops. The Zen world is an entirely different world that rarely if ever crosses paths with the music world. Both Barry and Ralph felt that my Earth Model, all natural bamboo flutes, were more appropriate for Zen meditation playing than the modern standard Jiari shakuhachi. I concur. The reason being the modern shakuhachi has to be blown with powerful embouchure technique in order to produce the desirable ringing overtone sound of the modern shakuhachi. For most people, it would be extremely difficult to achieve that sound and meditate simultaneously.  However, soft blowing on an Earth Model flute brings out an easier warm and vibratory tone that envelopes the player. This relaxing approach to playing lends itself very well for those who seek meditative playing only.

It is through working with disparate teachers that I was able to nuture an inclusive idea of the shakuhachi. To me, there is no wrong way to play the shakuhachi. As long as the player is practicing good form to prevent hand injury (no gripping, proper posture)  any approach can provide a wonderful path for enrichment, musically or spiritually. Whether one wants to simply sit and breath deeply with a natural bamboo flute, or play at Carnagie hall with a modern instrument, there is an appropriate flute for the desired usage.

My performance work takes precedent but I take shakuhachi commissions and repair work daily. Your flutes will receive my utmost attention. On request, I teach informally, or non traditionally. Because of my diverse experience, I decided not to become indoctrinated into one Ryu and do not teach with the focus of indoctrinating a student into an Iemoto. If that is important to you, I would be more than happy to recommend a teacher in your area. I have worked with and personally know many of the traditionally licensed teachers in America.

For those interested in how I teach, I basically use a little bit from all my teacher for technical playing but much of my basics are based on Akikazu Nakamura’s Millet Embouchure and Contra Breathing techniques. Akikazu’s approach to teaching is very Western, just like learning scales. There’s no mystery, just learning good form that will lead to a good sound. I can teach two styles of shakuhachi - beginning/ intermediate level Dokyoku as I learned it from Kinya Sogawa and beginning Kinko of Jin Nyodo (from his god son - Keisuki Zenyoji). Although I prefer to each Honkyoku, I also love Kinko Sankyoku of Ralph Samuelson and Christopher Balsdel (through Goro Yamaguchi and Yamato Shudo) and may offer to teach beginning levels in the future.  Please know that I am not presenting myself as a master player or traditional teacher, only someone who has studied widely, traditionally and have made the shakuhachi my life. I would be more than happy to share all I know. This is also one reason why I teach shakuhachi making. It is another way to spread the love.
photo by Larry Mullins

Teaching a shakuhachi making workshop at The Chikuzen Ro Camp 2007