Komyoji international Shakuhachi concert

…And now for something completely different

A fellow Komuso and shakuhachi club member asked me if a concert/show could be arranged at the Komyoji Temple. He has a couple of students that would visit Japan from Europe. He felt it would be good for them to play in front of people they did not know. Training as it were.

I spoke with Osho-san of the temple and got the wheels on motion. it took some effort but things fell in place. Even a food truck that would serve vegetarian meals. I designed a flyer and slowly started posting I for on social media and contacting some friends about attending.

As it turned out the final performers were going to be from Germany, Slovia, England, Japan, China and America. With music also included from Thailand. There would be four of us Komusos from Japan performing.

At the time before the event, one friend who often sings with me and would be the announcer as she spoke English and Japanese. she caught the flu and could not attend. I caught a cold a week before and just barely recovered in time. However I did completely lose my voice the day after the show. Another friend was going to attend but her mother became very ill. On a good note, a friend of the guitarist attend she played percussion and a friend of mine from one of my bands who played piano also attended and played synthesizer.

The show which was mainly themed around Shakuhachi, I had planned in two sections, the first would be non-traditional. Some misc songs some with vocals and Shakuhachi. Some without shakuhachi and big event of the first section was a Jam session with Shakuhachi, bass, electronic synthesizer, Bass, shamisen, percussion. The second section would be traditional Honkyoku songs of the Komuso.

Rarely do things go as planned, they went will but somewhat different. Oshosan who had to leave early to go do monk stuff somewhere took over the opening. He spoke and played for the first 15 min or so. Doing one of the songs I had planned on doing , also doing a song we were suppose to do together, with the vocalist. I would sing instead of her and play bass whilst he played shakuhachi. Well he started playing the song without me. So halfway through I joined with just the bass. It worked out ok. I was the only one who know what was happen was not as I planned. No matter I rolled with it. It went well anyway… at least well enough.

The rest of the show went pretty much as planned. The guitarist and percussionist played, I played Shakuhachi. I ok’d. Them doing a second, I played Bass.

Next up was a Japanese couple who played a traditional Thailand song. I thought they would do two songs, but they chose just one. That was fine. That kept things moving…

Next up was a friend who played shamisen. He was popular as expected! He did a improvisation on the traditional song Sakura. Good timing as it was this week the Sakura started blooming. The next day I was suppose to go out and do my traditional Takuhatsu by a lake in Osaka and then planned to go to Osaka Castle on Monday to do more of the same. Takuhatsu under the Sakura trees.

The Sakura song was quite nice and people enjoyed it. The next song was the final for the section. we had nothing set, and no practice. I just selected the key. We let the keyboardist take the lead.

We started slowly and fed off each other. It was pretty smooth, as expected a couple parts were not as smooth, but that was to be expected. just jamming is like that. It is life, flowing from one thing to another, sometimes good, sometimes not so good. It is a wordless relationship.

Now was time for our break, we reorganized for the last and final segment of the event.

After a few moments we were ready to go with the last section which was the individual Honkyoku performances. There were players from China, Japan, Britain, Germany doing traditional Komoso songs. This part was easy for me. Other than letting players know when it was their turn I could just watch. Everyone took care of their own introductions.

The final song of the day was a group effort. We were to play Choshi. Generally when it is done as a group everyone plays a 1.8 standard shakuhachi. However this time not everyone had that size. I had heard of it being done with mix sizes before. My Sensei had told me he went to a Komoso performance at Kokokuji where they used all different size Shakuhachi and played this song together. Sensei said it was weird sounding at first but after a short time the energy took over more than the note disharmony. It became harmonious disharmony.

I found it a challenge to play, having a musician’s ear the discord was hard of my sense of playing correctly. It was a serious challenge to find the Harmony within the disharmony. It was in fact a Zen practice challenge. Staying centered in Chaos, finding the harmony within in disharmony. I went in and out of blending. Like doing Meditation and slipping in and out of awareness. While doing it it sounded like chaos, however when listening back to the recording I could hear the harmonic disharmony blend, the vibrational harmony overload the separate note discord. It was interesting.

Then it was a wrap. People mingled , chatted, made connections and took photos.

I sort of over saw the clean up. the food truck was still on site, so some made their way down to that and ordered food. It worked out well having the truck there. The truck owner did well as he was the only one there. There was a bit of a wait while he cooked, but it was worthwhile and no one really minded.

Oshosan had left out some wine and the Kaicho had put out some small snacks. After I had things organized upstairs I went out and checked on everyone, since I was basically the host. I informed those interested there was wine inside and with the temps slowly dropping there was seating inside. Gradually as people received their food everyone came inside. We sat at a table, drank, snacked and chatted on miscellaneous topics. After a while Oshosan returned and joined us.

We chatted about Zen, Kyudo, Kung Fu, Shakuhachi, Komusos, travel.etc. A good spectrum of topics. After about 30 min Oshosan calls me into the garden room and shows me he has started a campfire. I then hearded the group and had them migrate to the garden room. There we enjoyed the fire, the cut Sakura branch’s and flowers, a florist had donated to the temple, along with Oota Sensei playing a traditional Honkyoku song.

This is where we spent the rest of the pleasant evening, until time to catch the train home. we slowly disbursed into the night. It was a good day…Amitoufo 🙏🏾

Three monk Chat

A while back at a visit to my temple in Amagasaki, Komyo-ji. After a ceremony the head monk, his disciple and I had our usual social gathering. Food, drinks, chatting about life, Buddhism, Zen, Shakuhachi. Komyo-ji is an official Myoanji Shakuhachi Dojo, besides being a Jodo-shu temple. It is also where I hold Zen sessions, which is unusual for. Jodo-shu temple.

On this day I decided I would do some recording of our talk. I had some questions for Oshosan and Jonen-san is student. Jonen-san is a former Komuso and Osho-san is of course a Komuso as his temple is a Myoanji dojo.

I did a large amount of editing on this as Osho-san English is not good , there was a lot of background noise from the leftover people from the event, and the mic set up was poor. I have since then changed the recording process, so when I do this again or something like it, the sound should be better.

I posted this video a while back. While going through this site’s log and seeing what I had not posted as yet. I found I started a post for this. I was going to just let it go, however I was checking my stats here and was SHOCKED to find there are over 400 followers to this site, way more than my other site. Ok, so I figured perhaps there is an interest in this so I will put a bit more effort into sharing here.

That said, here is the video of that evening at the Temple.

Fukuoka pilgrimage: Komuso Encounter

It was now my second of three days in Fukuoka. Today I was to meet the Icchoken-ji temple head monk. Today was the main day of my purpose to visit Fukuoka. This is the headquarters of the Fukuoka sect of Komuso. I had seen a few pictures and had a very brief chat on Facebook with the head monk. We have the same Zen sect, Rinzai, and I visited the temple where he did his training in Kyoto. Which was a very nice and large temple. So this was a special event for me. To speak with someone of my sect in Japan who is also a Komuso. Furthermore, it is a temple head, not just any Komuso.

I had breakfast at the hotel restaurant, and while it was not particularly good, I had enough to not go hungry. I was not to meet the Oshosan until 2:00 in the afternoon. So I had plenty of time to kill. my plan was to walk to explore by walking around, since everything was fairly nearby. This was very handy.

My first stop was a temple called Shokufu-ji. It is the main temple of this complex; I found out there are several other temples. I entered Shokufuji and found a large garden with a lake. It was quite peaceful. Only a few people, here and there. It was still early. I walked around, taking in the sights and the temple, peeking in where I could. Photos can be found here; if you are a subscriber to my channel, you can view more pictures and a brief video on the other log post.

Before leaving, I checked out what I could do for a good amount of time here. Next, I followed the map to what I thought was another temple, which may or may not have been Icchoken. I found the names of the temples on the map confusing. When I looked at one map list, it was called Ichokenji; on another, it was called something else. I figured I would just explore. So back on the street again and walked following the map and the wall around the temple in closure.

I came upon a small gate leading to a small temple. I looked in, as the grounds were open. I had gone past another couple of temples before the last one, and the grounds were closed. This was open, so I went into the parking lot to peek. As I got closer, I thought, Hmmmm, this place looks familiar; is it where I want to go? Icchoken-ji. I checked the website photo, and yes, it was the temple. I just happened to stumble upon it easily! Wow, this is great! I am way too early, but at least I know where it is now. I took a few more photos, and I went back on the street to explore more. I found another temple; however, it was closed off. So no, go there; just a peek through the gate. I walked on, and I found another temple. Another small one. Unlike the ones I had found earlier, this one had a cemetery. I looked around some, took some photos, and then went back on the road.

I ended up coming out of the back side of the first temple I visited. At that point, the ground complex made more sense of being connected. I slowly made my way back to the hotel to hang out for a while until it was time to meet Osho-san.

At a good time, I took off again for the temple. I was able to take a leisurely stroll since I know where to go now. I arrived at the correct time and entered the grounds. Osho-san saw me in the garden filming and came to the door to greet me. We went into a small side room at the entrance. We did the greetings, and he served me tea.

I enjoy green tea; the only problem with it is that it makes me go to the loo a lot! Which I had to do a lot during the visit! Maybe every 15 minutes or so. It was embarrassing but could not be helped. I explained this to Oshosan so he would not be concerned. LoL.

After a brief conversation about various topics while we sat, he recommended that we head inside the hondo. Which is the main temple altar room, where I could play at the altar? We walked into the main section of the building. It was a small but comfortable room. I enjoyed seeing some of the older pottery displayed and the calligraphy. He showed me the altar up close, and I went to see some historical statues. One of the Komuso is another historical figurehead of the Fuke sect.

Next, I sat and played Tamuke at the altar, a sign of respect. It was a big personal moment for me. I have been to the Wakayama, Komuso temple, but only got to play at the gate.

From there, we went into a smaller side room. OshoSan showed me his flutes and those he has for students. We discussed the size used at this temple. Which is 2.0 as their standard. I have come to understand that each place is different. Myoanji uses 1.9 for classes; we at the Classical Shakuhachi Society, even though setup by a Myoanji member, use 2.5. However, when we all get together, they play Choshi on a 1.8. On an added note, it was told to me by my Sensei, who was invited once to Kokokuji, where they all play different sizes when doing choshi. Anyway, after some misc talk, we played Choshi together. Both are using 2.4 since that is what I had with me.

Oshi-San showed me a flute he made some 20 years ago. He does not regularly make flutes. I think he said this was the only one. It was quite nice. Next, he played a honkyuku for me. It was not fancy; it was just a simple song, not complex and impressive. I recorded it, although he asked not to post it, so it is private. Later, my Shakuhachi Sensei told me after listening to it that he thought it was an old traditional song only played at that temple these days, which is pretty rare. He was not sure, but if it was that song, he told me it was a rare honor to hear it from the master of the temple.

After a while, we moved back to the first room. I think because it was closer to the toilet for me, who had to go often 🥹😅

Back in the main room, we spoke about small, miscellaneous topics. It was not a flowing talk; there were a lot of dead spots because he spoke only a little English and was not a big talker, unlike the Sensei in Nagoya. So I had to keep the chat going with questions. I suppose that was good training for me. I did get to find out some things I was curious about, which was the point of going. Including some Zen topics. It was a good chance for that, since he is a Zen master. A true Zen master was the first I actually got to meet and speak with in Japan, so that was great!

There is a sign on the front gate of the temple saying there is a Zazen class on the first of every month. On my next visit, I will schedule the visit so I can attend.

So we spent a while there in the room, and his wife came and took our picture. He then suggested I return to my hotel; he would meet there in about an hour, and we would go to dinner! We had a reservation for 6:00 pm. I thanked him and returned to my hotel for a short while. It was a good break for me to not have to think of talking. I was talked out, and I am better at listening.

An hour later, Oshosan came to the lobby where I was waiting, and we walked a few blocks to the eating place. He had said an Izakaya. I was expecting a small hole in the wall; however, it was an upscale place! Not extreme, but not cheap either. The give-away was that they served real wasabi with the food, not the cheaper paste.

After a small bit of discussion on what I could eat, Oshosan ordered. I was shocked when they laid down raw squid! Wow! Ok, I could not be insulting, so I had some. I would just deal and roll with it. I was surprised that it was really okay. Not the taste I expected. With soyu and wasabi, it was good. I ate a few slices, and the rest was taken and made into tempura. I loved that! So fresh tasting, not oily, but good crispness!

That was really good 👍🏾! Much more to my taste. We had some other miscellaneous dishes; nothing else was really outrageous for my mind and taste. It was nice. I had some sake, which was very good, and Osho-San just had tea.

After the meal, Oshosan got up and paid. I asked to pay half, and he said no! Then we walked back to my hotel and said our good-byes, and I gave more thanks! He said when I return to Fukuoka, be sure to contact him!

I was very pleased with the visit. It was a success!

More of this pilgrimage is or will be on the other blog.

Amitoufo

Nagoya Pilgrimage: prt 3 – Komuso master

The second main part of my pilgrimage to Nagoya was upon me. I was to meet a Shakuhachi master today, the last day of my time in Nagoya. We had it arranged for 1:00, my train would leave at 4 something, but I wanted to be back by 3:30. I hate feeling rushed. I was somewhat nervous as the master, Shin-Ichiro Makihara spoke no English that I knew of. So I was dependent on my poor Japanese and a smartphone.

Things started with him picking me up at the train station. That was easy and a good place to be returned location. I knew him right away, as he had on his Komuso gear. So there was no mistake. He was quite friendly and started talking right away. I felt relaxed with that. He said nothing complex, and I understood enough to respond with some basic answers.

He took us to the Nagoya Castle grounds. He would do Takuhatsu there. He spoke about how the parking lot was so empty before the COVID hit. Now it was getting busy again. We went to the Noh playhouse and museum. It was big and empty of people, but we did. Quick walk in there and out. He picked a spot outside the main entrance and started playing after getting himself all together. He did one song there after a bit of chanting.

Next, we moved to another nearby spot on the main street. There was much more traffic and people. He played again. Several people and a couple of small groups took pictures and clapped. Watching, I could see they would not understand putting a donation in his neck bag. That is why my bamboo container makes a difference. People understand to put money in here when they see it! Jonen-san had also mentioned that when he used the bamboo I made for him, his donations went up! I need to make another one for him, as he said his is falling apart. That is on my list since I am on my feet again.

Next, we went to his apartment. He served me tea and some small chocolates. He opened his collection of shakuhachi and showed me, them. He played a couple of very small old ones. Explaining how they had five holes. Then he showed me a couple of other flutes of his that had 7 holes. He played them a little too. I was impressed he did not just play honkyoku, but some modern tunes quite comfortably.

He asked to see my flute I took it out. We spoke about it a bit. He asked me to play a song I had shown him on my iPad. I totally blew it. I could not get the sound I was expecting, and I had completely forgotten how the song went, so I could not find it. Being nervous played a big part in that. We continued. Then I played Tamuke, and he joined me. I felt better, I had redeemed myself by playing. We spoke more about misc Shakuhachi stuff. His flutes and about the ones John Neptune had given him. Also, he was one of three Japanese who took lessons from him. Most of the traditional Japanese players did not consider Neptune a real Shakuhachi player. He played in too modern a style. However, for him, he said it was an eye opener.

I asked how long he had played Shakuhachi, and he said 60 years. He was now almost 80. He started playing very young for his uncle. As a child, he found a shakuhachi stored away in a closet because Japanese traditional things were out of fashion in the 1960s. However, he wanted to play.

After a while, he took out his biwa and played. I was impressed. He said the Biwa and Shakuhachi were the only instruments that, when played, had a healing frequency.

He started one freestyle song on the Biwa and had me join him on my Shakuhachi. It was difficult in that I am used to playing with a rhythm, and a beat. Here, there was none that I could find. So it was very freelance style. I was not pleased with my playing at the time. Later, when I went back to the recording, it was not as bad as I thought, but still not my best playing.

He spoke on the Honkyoku song SanYa. Saying it in Japanese it is pro one way, which means three mountains. However, he researched things and found that in Sanskrit, it means zero. I know there is a philosophical meaning behind it. However, I can not recall off hand what it is. Some time has to do with connecting with the universe and the start of things, the foundation of life? Something I vaguely remember from my mystical studies.

It was a pleasant and educational visit. I did not understand everything, but enough that we could communicate. I had my wife translate my recording ps when I got home.

The last things we spoke of on the ride to the station was about Komusos. Some people thought that because they dressed up like Komuso, or even were real Komusos, they were then the official “Priest.“. This is a misconception, he said. Those who were actual official Komuso were only, for lack of a better word, half-priests. Sort of priest, but not really. They could not do official priest monk stuff. I said yes, I know. Being a Komuso does not make you a priest or monk. Really a “play” priest, unless one is a priest or monk outside of being a komuso.

Another thing was that there are not many Komuso who are actually on the streets. Many are just “show” Komusos. I thought I was doing a good thing, and please keep it up.

The visit was interesting. If I ever go back to Nagoya, I will visit him again. Maybe take a lesson.

My next upcoming pilgrimage I was really excited about. I will go to Fukuoka and visit the High Abbot of the Komuso Temple there. A real monk and Shakuhachi player. We are both from the Rinzai sect of Zen.

A day @Myoanji Temple.

I had had a long day at Daianji Temple in Nara just on Friday it was now Sunday. I took a day of rest Saturday, and now I am back at it again going to Myoanji. This is to be my first time playing at The Head Temple. I had played at a couple of other temples, including the main Zen temple of Tofukuji, but never at Myoanji. I had listened to a couple of performances there but never played.

The weather was good that day, rain was expected the following day but today was good. I left a bit on the early side to be sure I would arrive in time for the opening ceremony and the playing of Choshi.

As it turned out, I missed the opening. I was at a station and I needed to change trains, I also needed to go to the “Loo”, so I skipped the train that was leaving when I arrived and took the next one. As it turns out at that point all the trains were stopped due to someone being hit by a train it was announced. There would be a wait.

It turned out to be a delay of about 45 min. I had timed it so I would be there early so the delay only put me about 45 behind the event at the temple start. Others were also late I heard later. So I am guessing they started a little late, to give people a chance. I arrived in time to hear one of my group play he was the first of our group. He was #4, I believe, and I was #16 so I had plenty of time, to settle in.

Another of my club members played a few spots ahead of me, and one was scheduled after me and after lunch. I sat and listened to the players. All upper-level Sensei, some were fairly impressive, and some were boring. I noticed there was a lot of nap-taking throughout the event day. Understandable because many of the songs were low-key and long. I was up and down a lot, taking pictures, toilet, etc.

Finally, it was my turn. I had been struggling to take care I would not miss my time. I went to the back a little early to try to warm up a bit, and get my lips ready. Then I took a seat at the staging spot next to the stage entrance. I was feeling only a bit nervous as this was my first time playing at this venue. I had played in front of other Sensei in the past before Coronavirus shut down these events. However, this was my first at Myoanji, the Komuso headquarters, so that made this special.

I limped onto the stage and took a seat, bowed, and started to play. I did not have as rich a sound as I wanted to start the first note, but it was okay. The rest of the song went okay, no glaring mistakes, I did make a few small additions since the song was short. Then it was over. I had no idea how it was received as there is never applause after any song. It is not that kind of event.

I returned to the rest area and was met by the members of my group, I got a thumbs up from one of the seniors, so that was a relief. I was told it was lunch break shown the dining table and told to take the lunch with my name on it. We sat and for the most part, dined in quiet. I was surprised when I was approached, by someone. A Monk I had seen earlier. He came and greeted me. He was/ is the head monk of the Komuso temple in Kyushu. I had noticed him earlier across the playing hall. This was our first time meeting in person. I have spoken to him several times via Facebook over the last couple of years. Recently I spoke with him about visiting, the temple in Fukuoka, which we were going to arrange a time after the New Year. I was surprised to see him there and it was good to meet him now. I was looking forward to hearing him play later. As it turned out he was near the end.

After lunch and the last of our group played, they left to return to Osaka. I stayed, since to wanted to hear the Monk from Fukuoka play. Also, I saw one of the senior sensei from our group, who does not attend meetings often and is famous showed up, I greeted him and asked if he had played already. He said no he would go on soon, so I made a point of staying for that.

Overall, it was an interesting day. Sort of boring and interesting at the same time. Several of the songs were I thought too long and uninteresting, some were good and well-played. Some were just so-so. There was one Sensei who I thought played very well, the songs were interesting, but I thought would never end. It was at least 15 min, the average was about 10 min, and mine was about 6. Many people nodded off into sleepland because the sounds were so peaceful.

After I left which was before all was done, I went over to main Kyoto to my favorite Mexican food stop and an incense shop. it was a long day but pleasant, even the late train ride home was not spoiled by crowded trains, nice!

Amitoufo

My performance here

Temple visit video

Sort of Komuso stuff…

Today is just past the 1 month anniversary of the accident. I am told I can walk with 100% weight on my injured leg. I have not fully tried it, but I think it will be no problem. I am going little by little.

Recently there was an online shakuhachi event. It was a worldwide event. Classes and players from all over to place. On the first day of the event, there were several classes as training for new teachers. I took a class. It was a beginner class, however, it covered a couple of things of interest to me. First off it was Kinko-ryu which is my style, the second thing is the song was a Komuso song. I had not learned it so I made sure I attended. It was worthwhile. The song was simple enough, but I picked up a few insights into the style that I did not know.

There was a more advanced class with a different song, that said something about Buddhism and meditation in the description, but I did not really care for the song that much, so I passed.

The next week the main event, everyone played Rho together online as an effort to world peace and healing. I believe I heard there were at least 80 people or more from all over the world, taking part. We all played 108 Rho to start the event. Next, there were individual players doing songs. I did not requester in time to be included. I did get a chance to play at one point when someone was not. However, there was some technical difficulty on my end, because using an iPad I could not be heard, well the Shakuhachi could not be heard. There was some setting I needed to adjust but did not have on the iPad. So I missed that, next time I know. There were several well-known and high-level players involved. Head of Myoanji temple the Komuso headquarters in Kansai, the Head of the Komuso temple in Kyushu, and many high-level Sensei including my recent friend Helene from the Netherlands. ( blog here).

The end of the event 12 hours later ended as it started with Rho 108.

In doing my plans for upcoming temple pilgrimages. I had planned on going up north and visiting a monk up there. However, he rudely did not reply to my email. Very disappointing on a couple of levels. However, I did come up with the idea to go to Kyushu and see about visiting a Zen Monk there who plays shakuhachi and speaks English. We had already spoken a couple of times. I asked, and he said please do come and visit, after Dec. Wonderful! I thought. Then I found out he is or was the head of the Komuso headquarters temple in Kyushu, so great luck.

https://www.icchoken.jp/eng_index.html

That will be a good pilgrimage for next year. It also turns out I can take the Shinkansen train at a significant discount due to my retirement age. There are also several temples of interest in the Area so it will be a great weekend trip. Something to look forward to doing. Very cool!

Coming next month will be a concert at the Komuso headquarters in Kyoto, at the Myoanji temple, my first performance there. There will be members from my Shakuhachi group also attending. So great I will not feel alone. It may be fun!

The Reset

Other than doing some help at Komyoji Temple with ceremonies every few months, doing Komuso is the mainstay of my Buddhist Practice. Getting out and sharing Musical dharma breath is my ministry. There was once a famous Japanese monk who was called the leaf Whistling Monk . He would sit in the park and play tunes for people on a tree leaf, then sometimes engage with them in a talk with whoever wanted to. There is a book about him.

(From Chat AI: The Japanese monk you are referring to is likely Eshin Nishimura, also known as “The Leaf Whistling Monk.” Eshin Nishimura gained fame for his unique ability to create beautiful melodies by blowing on leaves. He became known for his performances in Japan and even internationally, using various leaves as instruments to produce music that resonated with audiences. His performances were not only entertaining but also spiritually uplifting, reflecting the connection between nature and human expression. Eshin Nishimura’s talent with leaf whistling showcased the beauty of simplicity and the harmonious relationship between people and the natural world.)

Anyway. Have not been out that much these days. Mostly confined to being in front of Komyoji and playing. That, the last few months has not been happening as Jonen-san has been coming out and doing that. Two of us are too much. Also, there is only one Tengai there, which is his. So all that to say I will need to change up and start bringing my own and also start venturing out more when he is at the temple, then be in front when he is not. Some kind of change up. To reset my practice.

Even so, that will not be happening for a while until my leg heals and I can walk crutch-less once again. A recent motorcycle accident has shut down my practice for a while. Well, not just my practice but everything until I recover. No Buddhist retreat in Thailand, no new study of Baqua, and no local temple pilgrimages. I do, I can still practice Shakuhachi at home, bedridden. I recently purchased another shakuhachi, for my travels. As it turns out my first real playing of it was in my hospital pilgrimage. Life happens…

I do have a couple of Shakuhachi performances lined up for Oct. and Nov. both of which are at temples. One is at The main Kansai Komuso temple, Myoanji. It will be my first time playing there. I have been to concert events there and played at Tokofuji, but never at the Myoanji exact temple. The reason being it cost. I figured I should do it at least once, and there would be a lunch served (extra ) cost. Additionally several of the members from my classical Shakuhachi Group will also attend, so I will know several people. That will be more comfortable.

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I was wondering how and AI would rewrite this post, here it is AI style :

Title: “Resilience and Reinvention: The Komuso’s Journey”

In the tranquil embrace of Komyoji Temple, I have found the heart of my Buddhist practice, and it resonates through the enchanting melodies of the Shakuhachi. As a Komuso, my ministry is simple yet profound: sharing the musical dharma breath with the world.

In the annals of Japanese monastic history, there is a beloved figure known as the “Leaf Whistling Monk.”.This venerable monk would sit beneath the rustling canopy of trees in a serene park, his Shakuhachi in hand. With skill and grace, he would play enchanting tunes on a humble tree leaf. Passersby would gather, drawn to the ethereal sounds, and engage in conversations about life, spirituality, and the profound interconnectedness of all existence. It’s a tale of pure, spontaneous sharing that has inspired many, leaving an indelible mark on the collective consciousness.

Recently, however, my own journey as a Komuso has undergone a subtle transformation. I’ve found myself spending more time within the tranquil confines of Komyoji Temple, contributing to ceremonies every few months. While this practice remains deeply meaningful, it’s become apparent that I need to embrace change and rediscover the essence of my ministry.

One of the primary reasons for this shift is the presence of Jonen-san, another devoted monk at the temple, who has taken up the mantle of playing the Shakuhachi in front of the temple. Two of us offering our musical dharma breath simultaneously felt overwhelming, and, after all, there’s only one Tengai (monk’s basket hat) at the temple, which rightfully belongs to Jonen-san.

So, it’s time for a change—a reinvigoration of my practice. I plan to bring my own Tengai, the iconic symbol of a Komuso, and venture out more when Jonen-san is at the temple, ensuring that our offerings complement each other harmoniously. When he is not present, I will step forward, playing my Shakuhachi in front of the temple, a return to the roots of my ministry.

However, the path forward will be a bit longer than expected. A recent motorcycle accident has temporarily halted my practice. The accident has not only affected my spiritual journey but also put a pause on my plans, including attending a Buddhist retreat in Thailand, embarking on new studies of Baqua, and partaking in local temple pilgrimages.

Yet, the flame of my commitment continues to burn. Even in the confines of my home, bedridden due to my injuries, I find solace and purpose in practicing the Shakuhachi. I’ve even acquired a new instrument, one that will accompany me on my future travels. Remarkably, my first significant performance on this new Shakuhachi took place during my hospital stay—a testament to the resilience of the human spirit and the unwavering devotion to the musical dharma breath.

Looking ahead, I have a couple of Shakuhachi performances scheduled for October and November, both at temples. One of these performances holds particular significance as it will be at the main Kansai Komuso temple, Myoanji. It’s a unique opportunity, as I’ve attended concert events there but have never played at the Myoanji temple itself. This choice marks a departure from my usual practice and carries some added costs, including lunch. However, it’s a step toward embracing change and furthering my journey within this cherished tradition. Moreover, knowing that several members from my classical Shakuhachi Group will also be in attendance brings a sense of comfort and camaraderie.

In life, as in music, the rhythm can change unexpectedly. Yet, the essence of the melody remains, waiting for us to rediscover its harmonious notes. My journey continues, and I remain dedicated to sharing the musical dharma breath, whether in moments of stillness or amidst the symphony of life’s unpredictable cadence.

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I like it, so poetic sounding LoL!!

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Embracing Silence: A Komuso Monk’s Quest for Anjikan Meditation. Part 2 – reality

As I said in the previous post I took a trip to the famous Mt Koyasan, to experience Anjikan Shingon meditation. This part is the real story, however just a part of the story which will be on the other blog, This part is more of what I was experiencing as a Komuso.

Besides liking the vibe of Koyasan, I wanted to experience Anjikan Meditation and stay at a Temple nearby to Kongobuji Temple where the Meditation was held. Kongobuji is the main temple of the Shingon sect in Koyasan.

I was planning to attend the 11:00 am class session, however, I arrived just a little late. Once I found out where the place was, how to enter, pay, etc. I took a small tour of the grounds to wait for the next session to begin. Which was at 1:30, currently 11:15, so I had plenty of time. I took some videos and pictures of the grounds. Then went back to the parking area. Where I had my cycle.

I took in the peacefulness of the area and took a short walk around the forest area, blowing Ro. There was a small shrine there among the trees. There I make my musical offering of Ro and Tamuke. After which I just sat and played. To the forest along with the birds.

Finally, it was time to return to the temple for the class. I went back and found my way around. Once o located the place where to enter, I found I was still quite early so I sat and waited. I absorb the quiet and the bird songs. Finally, a monk came out, I asked if this was the place, yes, and he says, please wait a bit. after a short, while others started showing up for the session about 8 people in total, joined the lineup with me.

The monk then took us to the section. Where the class would be held and gave instructions. We took a seat after depositing our street gear in a side room. He explained what to do and I believe why. I did not understand a lot, however, I did record, so I could have my wife translate later. There was no English spoken, I was given a booklet with a basic English explanation of what was happening.

Up until now, I had no idea how this would be something to relate to Komuso or SuiZen. Then as we started he told us to make the sound of “Ah”. Softly then gaining volume and spirit. Also sending it out a small distance and then further and further out into the world. This is what I am hearing, understanding. The vibration and the Ki of the breath and sound spread to the “world” sending peace and healing. Also visualizing this Kanji character and the lotus flower, symbolizing harmony. At this point I am feeling, ohhh, this is how one can, should be when blowing Ro, or doing SuiZen. This is where the Komuso connection happened for me.

I may not be fully correct about this, but this is what o got from it. I am still waiting for the recording transcript of made to verify my thoughts. However even if only partly correct, it is something to consider. after doing this part of the meditation we did the actual just sitting part. After that, the monk did more explain then we finished the session and left.

I was pleased with my findings and felt, even this much made the trip worthwhile. I came across an older monk after the session when I was exploring the grounds. He came over and spoke with me. He spoke English and had lived in Hawaii. He gave me some background on himself and we talked for a bit and exchanged business cards. Again I was pleased with the outcome of the trip so. With this contact, I thought I would contact him later to ask some questions, about the Anjikan practice and further solidify my concept of using part of it with SuiZen.

However, now a week later or longer I am still waiting for a reply to a short letter I sent to him just asking about some English reading on Shingon Buddhism. So, it seems he is a dead-end dream. Oh well.

I did some reach on Anjikan, but nothing shows up written other than it uses visualization as part of its meditation and sometimes a mantra. perhaps when I get my recording translated it will give me a more solid idea of how to incorporate it with SuiZen. So the quest will continue to deepen the practice of SuiZen.

Amitoufo 🙏🏾

Komuso @play.

I belong to a group called the traditional Shakuhachi Society. We were established via a master at the Myoanji temple in Kyoto. It is the home and headquarters of the Osaka area Komuso. Once a month we have a meeting and go through traditional songs. Most of the members, not all but most are Komuso. Although to my knowledge I am the only one that is active in a public setting. Meaning I do Takuhatsu. however there is one member who also does tokusatsu, but he is no longer a Komuso. That is another story.

We have our monthly meetings and usually, there is a main song that we practice together after doing two versions of Choshi. Then there is the chosen workpiece we study. The final part of the session is everyone plays a solo song for the group of their own picking. I was really nervous at first when doing this, but now not so much. Sometimes I receive an adjustment, sometimes not.

Sometimes the tricky part of this meeting is sometimes, the one person who speaks English does not attend, so I have to make do. It can be a struggle, but I get through it. Not all members attend all the time. There is usually a core of 5-6.

In this session, we worked on a very old honkyoku. In July in Kyoto, there will be a large Shakuhachi event. I have heard there will be over two hundred Shakuhachi players from all over Japan. Everyone gets to pick one song from a listed selection and then everyone plays together on this particular song, which is the one we worked on this session, that was a great bit of luck. I am supposed to be sent this song. DVD and given a chart, however, it has not arrived yet, and everyone is expected to play this song from memory. My Shakuhachi teacher, says he never learned the song because it is a different fingering and not kinky Ryūzen, however, he does have the music if I want it. So yeah, it was good luck for the group to play this song at the session. I got to hear and play and was given a few pointers. I can work on this over the next few weeks until The event in July. It is not a difficult song and has a few catchy phrases. So should. To be too hard to memorize. I do have it placed on my smartphone so depending on where I sit I will maybe be able to cheat a bit and peek. However, It will depend on that.

As a tradition, we go to an izakaya after practice, unless we do it at the home Dojo of the group leader. Then everyone brings something to share as we eat and drink. This day we go to an Izakaya. food is ordered everyone knows my diet style so some things are ordered with me in mind. At one point a smartphone was used to translate something I could not get. It is a helpful device.

It is an excellent way to end a day. Everyone in the group is helpful and kind. Although from very different walks of life. There are several priests, two Jodoshu, a Jodoshinshu, a Zen Soto, and a Rinzai. Then just everyday people. Several of the group make shakuhachi, and one does it professionally. Most of mine are from him. It is a good group and a pleasure to mix with them.

A short video here

It would be helpful to, my channel if you liked and subscribed.

Amitoufo 🙏🏾

Music of the Komuso

More on my experiments into on-Line AI.

Explain what is Honkyoku

Honkyoku is a type of traditional Japanese music that originated in the Zen Buddhist temples of Japan during the medieval period. It is characterized by its meditative and spiritual nature and is often performed on the shakuhachi, a traditional bamboo flute.

The term “honkyoku” literally translates to “original pieces” or “original music,” and it refers to a repertoire of musical pieces that were originally composed for the shakuhachi as a form of musical meditation for Zen Buddhist monks. These pieces were considered to have deep spiritual significance and were used as a means of self-reflection, contemplation, and enlightenment.

Honkyoku music is typically characterized by its simple and minimalist melodies, slow tempos, and emphasis on breath control and expression. The shakuhachi flute used in honkyoku music is usually made from a single piece of bamboo and has five finger holes, as well as a thumb hole on the back. The player blows air into the flute and manipulates the finger holes and embouchure to produce different pitches and tones.

One of the key aspects of honkyoku music is the concept of “ma,” which refers to the space and silence between the notes. This emphasis on silence and space allows for deep contemplation and reflection and is considered an important aspect of the meditative nature of honkyoku music.

Honkyoku has a long and rich history in Japan, and many different styles and schools of honkyoku have developed over the centuries. Some of the most well-known honkyoku pieces include “Hifumi Hachigaeshi,” “Kyorei,” and “Tamuke,” among others. Today, honkyoku continues to be performed and studied by practitioners of traditional Japanese music, as well as those interested in the spiritual and meditative aspects of the art form

Is Honkyoku a form of improvisation balanced within structure

Yes, honkyoku is a form of improvisation that is balanced within a structure. Honkyoku is a traditional style of Japanese Zen Buddhist music played on the shakuhachi, a traditional bamboo flute. It is characterized by its meditative and contemplative qualities, often associated with Zen meditation practice.

Honkyoku pieces are typically structured with a specific melodic framework, consisting of a series of phrases or musical motifs. Within this structure, the performer has freedom to improvise and express their own interpretation of the piece. The performer may vary elements such as pitch, rhythm, tone color, and dynamics to create a unique rendition of the honkyoku piece in the moment.

Despite the improvisational nature of honkyoku, it is not purely freeform improvisation. Honkyoku has a set of traditional melodic patterns, modes, and techniques that are passed down through generations, which provide a foundation for the improvisational exploration. These traditional elements create a structure and framework for the performer to work within, while still allowing for individual expression and creativity.

In this sense, honkyoku can be seen as a balanced form of improvisation, where the performer has creative freedom within the established structure of the piece. The improvisation is guided by the traditional elements of honkyoku, creating a harmonious interplay between improvisation and structure