Hi All, Sorry for the last minute notice. Things are always a bit hectic around here. I was invited to play in James Nyoraku Schlefer’s Shakuhachi Solstice Celebration

Traditional solo pieces from the centuries old Zen Buddhist repertoire will be performed as well as modern music for shakuhachi choir. The concert showcases Grand Master Riley Lee and Ralph Samuelson. There will also be original music by James Nyoraku Schlefer, including a world premiere and works for the ensemble of eight shakuhachi players.

More information on tickets and directions here: http://artsat.tenri.org/currentseason.shtml#shakuhachi_solstice

Last week I posted that I was accepting repairs until I leave and was somehow not surprised that a number of flutes came in. I am now fully booked and can not accept anymore repairs until I return around around August 5th, but please do feel free to contact me if your flute needs attention. The most important thing is to store it properly until I can receive it.

Each process is different. That is the joy of working on a zen instrument. Each piece of bamboo, each maker, each repair. It’s like each breath we take. It can be redundant, but when exercised mindfully becomes a unique and miraculous, life sustaining moment in time.

This wonderful Jiari modern flute made by Matsuda is a work of art - fast, responsive clear, powerful etc…everything a modern musician needs in an instrument. It had been dormant for a few years until the owner finally decided to have the crack repaired. When it came out of my humid box, I heard a faint glimpse of hope. The voice was weak yet there was hope. After the initial bindings went on, it sang. I felt chills as I heard it’s ecstatic scream of awakening. I am always so humbled and thankful that people allow me the privilege of experiencing this moment. (A moment I often wish I could share).

Another flute needed some TLC.

This is an antique 2.4 so it’s rare. The bore is narrow and the tone holes small. The thumb hole was quite flat. I normally do not want to retune old flutes but this one was beyond acceptable. Retuning would allow the owner to play Honkyoku without too much struggle. And since it needed to be enlarged, I went ahead and shaped the hole in a more contemporary fashion. Most authentic antique Komuso flutes have “organic” holes hand shaped by a knife or file, which is quite nice for those who can appreciate the marks left by a monk’s hand. This flute is on the opposite end of the spectrum when compared to the Matsuda, it is soft and not in modern tuning. But it has an inviting, organic tone that appeals more to those who can accept and enjoy sounds without judgment. For these people, the soft sound is deep and penetrating in a personal and introspective way. (Not a kind of sound that is usually performed).

A flute came in yesterday that was made by a student of John Neptune’s. What a wonderful flute it is. The student happens to be a woman, which is so cool! She can be a role model for Sasa. I’ve played flutes made by the many females who participated in my making workshops but the only other flute I’ve ever played that was made by an experienced female player was one by Laurie Sogawa, Kinya’s wife. She play’s it on her CD. I think it’s a 2.4, it’s quite nice. I heard that Kiku Day has made a few long flutes but decided to focus on playing. It’s tough wearing both hats. I can certainly attest to that.  But I love the balance between sitting meditatively in the workshop and trying to calm the nerves backstage.

The wonderful thing about performing is that I get to interact with other players. Last night, while I was sitting to the side eavesdropping on the conversation amongst the trio, I had a moment of lucidity. As I looked around mindfully, it occurred to me that my life’s plan was in affect -  everything is exactly the way I want it to be. In front of me were great shakuhachi players.

And, next to me were flutes made by great makers who I am personally influenced by. Both 2.4’s, the bottom made by John Neptune and the top made by Kinya Sogawa. Then I reminisced about my time spent with both John and Kinya in Japan. The reason why I gravitate towards these two is because they are both makers AND players of the highest caliber. They are out there living the life.

On that note, family life continues to blows me away. I used be so self-indulged just doing art all day. Now I spend a lot of my waking moment thinking about how to guide these little people into become altruistic adults. Jet just had his 6 year birthday last week and we had a few parties - one for his kindergarten class and one for everyone else in his life.

I think jet’s going to be like his old man, party till you drop!

It’s late and I need to go over some music for the concert. Jim’s music, however, is quite invigorating to play.

See you at the concert!
Namaste, Perry