Latest Shakuhachi CD Releases

KAORU KAKIZAKAI studied shakuhachi with Seido Saito and later with Yokoyama Katsuya. He graduated from the NHK Traditional Music Conservatory and is the winner of the prestigious Kumamoto All Japan Hogaku competition. He has recorded with Yokoyama-sensei on his CDs and videos and is a popular leader of shakuhachi workshops for the International Shakuhachi Training Center (Kokusai Shakuhachi Kenshukan) in Tokyo, Japan and Seattle, WA and Denver, CO in the USA.

Currently he is research fellow at the Tokyo College of Music, full time instructor for the International Shakuhachi Kenshukan and NHK Culture Centre and President of the International Shakuhachi Kenshu-kan Chichibu School and Higashi Yamato School.



Gekko Roteki
Kikyo Gensokyoku
Tabibito no Uta
Miyama Higurashi
Fuefuki Douji

   CD $26.00


Ukigumo (2.')
Shika no Tone (1.')
Hifumi Hachigaeshi (1.8)
Sagarinami (2.1)
Kumoi Jishi (1.8)
Azuma Jishi (1.3)
Takiotoshi (2.4)

   CD $26.00

STEVEN CASANO is a licensed teacher and active performer of the shakuhachi. His teachers include Robert Herr and Riley Lee in Hawaii, as well as Ishikawa Toshimitsu and Yokoyama Katsuya in Japan. 

A recipient of the prestigious Japanese Ministry of Education Scholarship (Monbushou), Mr. Casano conducted extensive research on the modern history of the shakuhachi tradition at Osaka University under the guidance of Tsukitani Tsuneko and the Osaka Geijutsi Daigaku Shakuhachi Kenkyuukai.

Mr. Casano has been published in the international journal, "The World of Music" and has served on the faculty of the Hawaii Shakuhachi Festival 2006 and the Kauai Shakuhachi Festival 2014. He has performed on the documentary soundtrack, "Aloha Akebono" (KHON TV), and given performances and guest lectures at several venues in the USA and Japan.

Shakuhachi honkyoku in addition to a Minyo piece from the Osaka region.

1. Hon Shirabe
2. Yamagoe
3. Yamato Choushi
4. Tehodoki Reibo
5. Daha
6. Murasakino Reibo
7. Nezasa Reibo
8. Sagariha
9. Azuma Jishi
10. Sanya
11. Sanan
12. Tamuke
13. Yodogawa Sanjukkoku Funauta (Minyo)


CORNELIUS SHINZEN BOOTS has music degrees from Indiana University in clarinet performance, audio recording and jazz studies. He began studying the shakuhachi in 2001 with Michael Chikuzen Gould to have earned a Shihan (master teaching license) at which time he was given the shakuhachi name "Shinzen". In addition to teaching, Cornelius has recorded and written a series of 27 etudes (mukyoku) for Taimu, a wide-bore, bass variant of the shakuhachi. He plays all types of flutes, but specializes in jinashi and large-bore shakuhachi.


The term “mukyoku” is used for these pieces in the spirit of honkyoku, sankyoku, dokyoku, and sokyoku. This album is a compilation of pieces selected from the set of 27 training and performance compositions created for Taimu shakuhachi from 2009-2010.


 CD $15.00


This album features Buddhist hymns based on nature, breath and awareness, as well as new compositions for Taimu, recorded in an abandoned gold-mining cave-tunnel in Nevada County, California. Also included are electronic files of shakuhachi sheet music for each piece, photos from the recording location, and extended liner notes.


 CD $15.00

CHIKU ZA, aka Hiroyuki Kodama 児玉博之 , began studying koten honkyoku playing on jinashi shakuhachi (hotchiku) with Atsuya Okuda in 1989. Very soon after finding the shakuhachi to be his path in life, he became Okuda’s main student. Chiku Za also studied jinashi shakuhachi making with Murai Eigoro for many years, He moved with his family to the mountains in Nagano, where he is able to harvest his own bamboo and devote his life to shakuhachi playing and making.

S-C2a. TAKE TO IKI - Bamboo & Breath

Includes six honkyoku versions performed in 3.35' and 3.7' jinashi shakuhachi. Recorded in Spain in 2011. All songs were recorded in one take, with no editing.

1. Honte no Shirabe
2. Koku
3. Shinseki
4. Sokkan
5. Shin Kyorei
6. Shingetsu

 CD $18.50

SchleferJames Nyoraku Schlefer is a leading performer and teacher of shakuhachi in New York City. He received the Dai-Shi-Han or Grand Master's Certificate in 2001, and in 2007, he received a second shi-han license, this one from Yoshio Kurahashi and the Mujuan Dojo in Kyoto. In Japan he has worked with Aoki Reibo, Yokoyama Katsuya, Yoshinobu Taniguchi, and Mitsuhashi Kifu. His primary teacher in New York was Ronnie Nyogetsu Seldin. Schlefer holds a Master's degree in Western flute & musicology from Queens College (CUNY) and currently teaches music history courses at the City University of New York. He has four solo recordings, Wind Heart (which traveled 120,000,000 miles aboard the Space Station MIR) Solstice Spirit (1998,) Flare Up (2002,) and In The Moment (2008.) His music has been featured on NPR's All Things Considered.

Nyoraku is a member of the Japanese music group Ensemble East, which performs traditional and modern chamber music for Japanese instruments, including the shamisen and the koto. He is currently the curator of Japanese music programming for Arts at Tenri, a monthly chamber music series in New York City.

Schlefer began his musical career as a Western flutist. For the past several years he has turned his attention to creating new music and to date has written numerous pieces for shakuhachi in combination with both Japanese and Western instruments. A dedicated and respected teacher, Nyoraku Sensei is head of the Kyo-Shin-An teaching studio in New York City. He has edited books of traditional notation and written and published two etude books for shakuhachi technical development.


James Nyoraku Schlefer’s Haru no Umi Redux is a new version of the seminal 1929 work, Haru no Umi, by Michiyo Miyagi, one of the first pieces to successfully bring Western musical influences to Japanese instruments. In Schlefer’s three-movement Shakuhachi Concerto for solo shakuhachi, strings, harp and percussion, the shakuhachi serves as both soloist and team player, alternately in concert or in conflict with the orchestra. Daron Hagen’s Koto Concerto: Genji is based on an 11th century tale. The five movement work brings out the koto's wealth of sound and beauty as it interacts with the orchestra.

YUMI KUROSAWA 20-string koto
DAVID CURTIS conductor

"Despite his Brooklyn origins, James Nyoraku Schlefer is a Grand Master of the shakuhachi (one of only a small number of non-Japanese to hold that title). He studied in Japan and New York. Schlefer’s Haru no Umi Redux (2011) is his own take on a Japanese melody of that name composed in 1929 by koto master Michiyo Miyago. The opening phrases, in Japan, now denote the New Year’s holiday. It is a delightful piece, and it certainly sounds as though the Swan Orchestra enjoyed playing it. The recording is topflight.
"Once one has heard the plangent, evocative sound of a shakuhachi, it is not easily forgotten. Schlefer’s Shakuhachi Concerto begins in decidedly Debussian fashion (it is marked “Hazy awareness,” which certainly implies an Impressionist basis). Scored for solo shakuhachi, strings, harp, and percussion, it boasts a long, slow first movement. The mix of West and East is impressively managed in terms of musical language: Schlefer will begin a melody in decidedly occidental manner before adding an orientalist twist as the theme progresses. The second movement, “Crystal Solitude,” does not quite convey the yearning, lonely quality this instrument is normally associated with, despite beginning with a solo cadenza for the solo instrument, but it is atmospheric nonetheless, and the idea of a loss of solid pulse continues throughout most of the rest of the movement. The finale, a rondo, moves the goalposts substantially, juxtaposing varied, rhythmic sections against the delicacy of the preceding two movements. The Swan Orchestra comes into its own here; Schlefer is a fine player throughout, and his own best advocate. This is memorable music in fine performances.
"Daron Hagen’s operas have served him in good stead when it comes to his Koto Concerto, “Genji” (2011). The “Genji” title refers to the 11th-century Tale of Genji. The music is certainly descriptive of the five scenes it seeks to depict from Genji’s life (Genji was son of the Emperor, relegated to commoner status). His adventures are described in the story; Hagen takes five scenes and explores them as psychological situations. The first movement, “Cicada Shell,” seems to speak more of film music than opera, though. The solo violin (accompanied by koto) that opens the second movement, “Falling Flowers,” seems strangely to refer to Rimsky’s Scheherazade. The “Maiden on the Bridge” speaks of oriental delicacy and is superbly played by the soloist, Yumi Kurosawa, while “Floating Bridge of Dreams” is a more virtuoso affair (for both soloist and orchestra)."

This review by Colin Clarke originally appeared in Issue 36:2 (Nov/Dec 2012) of Fanfare Magazine

 CD $16.50

RODRIGO RODRIGUEZ was born in Argentina in1978, then moved to Spain in 1986. It was there that his professional music career began. He travelled to Japan several times to study classical and traditional Japanese music under the lineages of Katsuya Yokoyama with Kakizakai Kaoru at the Kokusai Shakuhachi Kenshukan. In 2009 Rodriguez began studying honkyoku and contemporary music with the renowned shakuhachi master Miyata Kohachiro.

In recent years, Rodrigo has performed numerous concerts in both the West and the East, at stages like Imperial Hotel Tokyo, NHK Culture events, and in the Temple Kotoku-in of the "Great Buddha" of Kamakura in Japan. In 2011-2012 he received honour invitation from Ministry of Culture of the Russian Federation and the State Tchaikovsky Conservatory to perform shakuhachi in the XIV International Music Festival "The Soul of Japan" ("Nihon-No Kokoro") in Moscow.

He presently works as a full-time instructor for the Ministry of Education and Culture of the Balearic Island in Spain(Conselleria d'Educacio i Cultura) dissemating knowledge and information related to the shakuhachi tradition, culture and philosophy.


This is an album of traditional shakuhachi flute music sponsored by the Japan Foundation, Embassy of Japan in Spain, Ayuntamiento Coria del Río, Association Casa Galicia Japon and SGAE.

Dedicated to the Japanese ambassador and samurai,
Hasekura Rokuemon Tsunenaga (1571-1622).

In the years 1613 through 1620, Hasekura headed a diplomatic mission to the Vatican in Rome, traveling through New Spain (arriving in Acapulco and departing from Veracruz) and visiting various ports-of-call in Europe. This historic mission is called the Keicho¯ Embassy (慶長使節), and follows the Tensho¯ embassy (天正使節) of 1582.

A collection of pieces from the shakuhachi schools, Tozan Ryu, Nezasa Ha, Kinko Ryu and Mu-ryu were selected by Rodrigo for this memorial album and also thematic original compositions inspired in the mission of Hasekura Tsunenaga.

This musical project was approved and included in the  Dual Year Spain - Japan 2013-2014 Japanese embassy in Spain. It was also selected as one of the official gifts to Japan's Crown Prince Naruhito during his visit to Spain, as a part of cultural and artistic exchange between the two countries.

1. Kumoi Jishi
2. Sagari Ha
3. 5 October 1614
4. Sanya Sugagaki
5. Shika No Tone
6. Kogarashi
7. Azuma Jishi
8. Dialogues: King Philip III
9. Departure to Rome
10. Azuma Jishi Duet
11. Beneath High Cliffs
12. Towards God (Hasekura's Baptism)
13. Arrival in Sendai

   CD $17.50


Nine solo pieces and one shakuhachi honkyoku.

1. Eleven Waterfalls 4:26 - Listen
2. Sunyata 3:15
3. Chaniwa 5:35
4. Kyuden no Kurayami 4:05
5. Lady of the Snow 2:02 - Listen
6. Peace Bell 3:27 - Listen
7. Cross of Light 3:34 - Listen
8. Sangha 2:27
9 . Shinkantaza 3:11
10 . Honshirabe 3:45 - See Video Below

 CD $15.00

MARTY REGAN has composed over 45 works for traditional Japanese instruments and since 2002 has been affiliated with AURA-J, one of Japan's premiere performance ensembles for contemporary–traditional Japanese music. He graduated from Oberlin College in 1995 with a B.M. in Composition and a B.A. in English and East Asian Studies. From 2000 to 2002 he studied composition and took applied lessons on traditional Japanese instruments as a Japanese government-sponsored research student at Tokyo College of Music. In 2002, his composition Song-Poem of the Eastern Clouds (2001) for shakuhachi and 21-string koto was premiered at the 5th Annual Composition Competition for Traditional Japanese Instruments at the National Theatre of Japan. He completed his Ph.D. in Music with an emphasis in Composition at the University of Hawai'i, Manoa in 2006. His English translation of Minoru Miki's book, Composing for Japanese Instruments was published in 2008 by the University of Rochester Press. He is an Assistant Professor of Music at Texas A&M University.

Selected Works for Japanese Instruments - Vol. 2

Original compositions by Marty Regan featuring the shakuhachi, koto, and shamisen in various combinations along with Western instruments

1. Flamefox
Seizan Sakata (Shakuhachi)
2. Dragoneyes
Tetsuya Nozawa (Shamisen), Seizan Sakata (Shakuhachi), Nobuhiro Wakatsuki (Percussion)
3. In the Night Sky
Erina Matsumura (Koto), Nobuhiro Wakatsuki (Percussion), Kenji Yamaguchi (Shakuhachi)
4. Magic Mirror
Maya Sakai (Ryuteki), Kazue Tajima (Sho), Hitomi Nakamura (Hichiriki),
Tetsuya Nozawa (Shamisen), Yuka Sawada (Shinobue)
5. Voyage
Shozan Tanabe (Shakuhachi), Etsuko Hirano (Violin), Masabumi Sekiguchi (Cello),
Saeko Wakiya (Viola), Gen Takeuchi (Violin)
6. Devil's Bridge
Tetsuya Nozawa (Shamisen), Akiko Sakurai (Biwa)


Includes a shakuhachi honkyoku performed by four of the six great masters of the post-WWII generation.

1. Yamaguchi Goro
Sokaku Reibo (20:54)
2. Yokoyama Katsuya
San An (7:10)
3. Yamamoto Hozan
Kogarashi (c. Nakao Tozan I - 1923) (7:34)
4. Aoki Reibo &Yokoyama Katsuya
Shika no Tone (11:10)

CD $16.00

TERUHISA FUKUDA was born in 1949 in Nagano Prefecture. He studied shakuhachi with Baizan Nakamura and Miyata Kohachiro. He is a member of the Pro Musica Nipponia and master teacher working to free the shakuhachi from its strict traditional setting.

He has performed with numerous famous Japanese orchestras including the NHK Symphony Orchestra. He has also performed at prestigious performances sponsored by famous groups like the National Theater, New Nippon Steel Culture Foundation, and Musical Foundation for Modern Music, Japan Federation of Composers, Orchestra Project and NHK.

Fukuda-sensei is a member of the Pro Musica Nipponiais and director of La Voie du Bambou in Paris, France.


Kinko-ryu shakuhachi honkyoku.

1. Hifumi Hachigaeshi no Shirabe
2.Mukaiji Reibo
3. Koku Reibo
4. Shin Kyorei / Banshiki
5. Sokaku Reibo
6. Yobikaeshi Shika no Tone

   CD $18.50

with Izumi Mayumi (Piano)

Modern compositions for solo shakuhachi and one piece for shakuhachi and piano.

1. Kotobuki no Shirabe (Minyo)
2. Gin Yu ((Kineya Seiho)
3. Ran Gyoku (Higo Ichiro)
4. Fururu Takfue I (Izumi Koji)
5. Fururu Takfue II Pour Shakuhachi et Piano La Rencontre (Izumi Koji)
6. Lotus Fish for Shakuhachi and Go Stones (Sumi Atsuki)
7. Interference IV Pour Shakuhachi (Tamba Akira)

   CD $26.00

S-F2d. GAKUONJYU with Shiho Kineya (Shamisen) [I]

Honkyoku, solo shakuhachi and a piece for shakuhachi & shamisen.

1. Shin Kyorei (Honkyoku)
2. Ichijo (Seiho Kineya)
3. Meikyo (Seiho Kineya)
4. Fish on Horizon [Shakuhachi & Shamisen] (Atsuki Sumi)
5. Shiki-soku-zeKu III (Choji Kaneta)
6. Syukon (Yoshiyuki Doi)

Listen CD $26.00


Rare Archival Field Recordings


In 1941, shortly before Japan declared war on the United States, a set of recordings were made of traditional Japanese music. These recordings were meant to be given only to educational institutions and not sold. Right before starting their distribution, war broke out in 1941. Only two copies of these recordings existed after World War II of which one set was given to Beate Sirota Gordon for safe keeping.

Beate Sirota Gordon, age 22, accompanied the U.S. Army to Japan in 1946. She had grown up in Tokyo with her parents. Her father was the famous Leo Sirota who moved to Tokyo, Japan where she lived for about ten years before moving to Oakland, California, in 1939. Apart from belonging to a famous family, Beate Sirota Gordon is famous in her own right. She was a member of the team that drafted the Constitution of Japan under Douglas MacArthur. She is considered an American icon among Japanese women for helping secure women’s rights and equality by writing portions of articles into the Japanese Constitution. During her mission, Donald Ritchie, a noted film historian, discovered a set of these recordings and gave them to her. Gordon presented them to World Arbiter Records in the late 1990s. Aside from her copy, only one other complete set is known to have survived the war in Japan, as they were possibly destroyed in a warehouse bombing.

Listen to an Interview with Beate Sirota

The people of post-war Japan and the rest of the world now have the chance to hear these lost recordings of Japan's broad cultural legacy. On these recordings, one is struck by a sense of eternity belonging to a culture living in a mind-set of immortality and permanence, an ease buoying virtuosity and intricate musical forms, revealing a gripping authenticity that later performers hint at.

These recordings of the Kokusai Bunka Shinkokai, heard with excerpts from theater and songs performed by many artists born in the Meiji period. They represent the earliest examples of ancient classical traditions. In the late 1930s, Japanese musicologists and experts completed years of work on a project to record their country's musical cultures, starting with ritualized shamanic traditions of the palace's gagaku, Buddhist chant, Noh theater, blind lute (biwa) players chanting medieval epics, a body of koto music, shamisens of kabuki dances, folk songs of workers, artisans, farmers, and children's songs. Five volumes, each with 12 78 rpm discs, comprised the leading performers of the time, many born into a Japan that newly opened to the West in 1868, taught by masters of an earlier isolated Japan. This third of five discs contains significant examples of the koto and shamisen literature, dances from Kabuki and puppet theater traditions, many originating in the 1700s.

"The International Cultural Council (Kokusai Bunka Shinkōkai) produced a set of LPs documenting the traditional music of the Japanese home islands. Originally produced in five volumes of a dozen 78s each, and recorded over the span of five years by ethnomusicologists Tanabe Hisao and Machida Yoshiaki, the series attempted to document performances of shakuhachi, koto, shamisen, gagaku, festival music, religious music, theatrical music, and folk music with roots in the early modern Tokugawa period (1600-1886) or earlier. This was actually one of several projects attempting to preserve pre-opening Japanese culture and place it in the context of the rest of Asia and the world, but the only one which appears to have survived the end of World War II, thanks in no small part to the efforts of western Japan experts Beata Sirota Gordon and Donald Richie.

"The third of a projected five CDs, this release includes a variety of koto music from the two major schools (Ikuta-ryū and Yamada-ryū), as well as shamisen music from the jōruri (puppet) and kabuki theatrical traditions. The recordings were of the highest quality, as were the performances, although the casual listener may find it difficult at first to hear this excellence through the surface noise, which was minimized but not removed in the digital restoration by Allen Evans. The English liner notes by Dr. Terauchi (an accomplished scholar of traditional Japanese music specializing in gagaku) provide some musical and historical context, as well as brief descriptions for each cut; the Japanese notes are significantly more complete, however. Listeners with little knowledge of Japanese traditional music may want to augment the notes with more in-depth sources, such as William Malm’s Traditional Japanese Music and Musical Instruments (Kodansha, 2000) or the volume of the Garland Encyclopedia of World Music on East Asia.

A Note About Recording Quality

"Unfortunately, due to the short playing time of 78 RPM discs (less than four minutes per side), most of the recordings represent excerpts from or condensations of longer pieces. . . . In short, this is a disc for specialists and enthusiasts, not for the casual listener. For the former, however, this is a priceless contribution, providing a rare window into pre-war, and in some cases pre-modern, Japanese music."

From a review by Richard Miller

Kokusai Bunka Shinkokai -1941

This second volume of the 1941 Kokusai Bunka Shinkô-kai (KBS) recordings features Noh theater masters, many of whom had been trained by artists active before the Meiji (1868) period. An essay and texts in both English and Japanese with translation are included in the CD. Noh, a masked play, was established by the actor Kan'ami Kiyotsugu (1333-1384) and his son Zeami Motokiyo (1363-1443) in medieval times. Based on various earlier forms such as sangaku (acrobat and juggling), dengaku (dance and play derived from rice festivals), and kusemai (dance), the noh created a far more highly artistic form of theater than ever before. Japanese biwa music is characterized by a narrative with biwa accompaniment. The instrument, born in ancient Persia and introduced into Japan around the 8th century as a component of the royal court's gagaku ensemble, is a four stringed lute plucked with a large plectrum. In the late 12th century, blind Buddhist priests developed a unique narrative style, using this instrument as an accompaniment. The shakuhachi is a vertical bamboo flute sharply edged in its flue. Its standard length is about 54 cm., but there are shorter or longer types than this standard. Shakuhachi was traditionally played by komusô, Fuke-shû priests (a Zen Buddhist sect). The blowing of a shakuhachi (sui-Zen, literally "blowing Zen") was a komusô's religious act equivalent to chanting a sutra.

Music for the Noh theater
1 Takasago (su-utai) utai: Kanze Tetsunojô VI
2 Yashima (su-utai) utai: Kongoô Iwao I
3 Hagoromo (ban-bayashi): part I
4 Hagoromo (ban-bayashi): part II
utai: Sakurama Kintarô, ô-tsuzumi:
Kawasaki Rikichi, ko-tsuzumi: Kô Gorô
taiko: Kakimoto Toyoji, nô: Issô Eiji
5 Matsumushi (su-utai) utai: Kita Roppeita
6 Aoi-no-ue (su-utai) utai: Sakurama Kintarô
7 Hachinoki (su-utai): part I
8 Hachinoki (su-utai): part II
shite: Sakurama Kintarô, tsure: unknown,
waki: Hôshô Arata
9 Youchi Soga (icchô): part I
10 Youchi Soga (icchô): part II
utai: Kondô Kenzô, ko-tsuzumi: Ôkura Rokuzô
11 Teika ichiji no dai (dokugin): part I
12 Teika ichiji no dai (dokugin): part II
utai: Umewaka Manzaburô I
13 Sanekata (su-utai): part I
14 Sanekata (su-utai): Part II
utai: Hôshô Arata

Kyôgen kouta
15 Tsuchiguruma, "Nanatsu ni naru ko"
16 "Uji no sarashi", "Fuku no kami"
utai: Shigeyama Sengorô

17 Môsô biwa: Jishinkyô
vocal and biwa: Kitada Meichô
18 Heikyoku: Nasu no Yoichi
vocal and biwa: Satô Masakazu
19 Satsuma biwa: Ko-Atsumori
vocal and biwa: Yoshimura Gakujô
20 Chikuzen biwa: Gishi no honkai
vocal and biwa: Tanaka Kyokurei

21 Fuke shakuhachi: Ajikan
shakuhachi: Miyagawa Nyozan
22 Kinko-ryû: Kokû reibo
shakuhachi: Aoki Reibo I
23 Tozan-ryû: Iwashimizu
shakuhachi duo: Katayama Yûzan, Sekino Shôzan
24 Miny'ô-shakuhachi: Oiwake-bushi
shakuhachi: Wakui Kogetsu

Liner Notes

Matsumushi (su-utai) utai: Kita Roppeita

This CD includes recordings of

Aoki Reibo I
初世 青木 鈴慕

Miyogawa Nyozan
宮川 如山

 CD $15.50

Kokusai Bunka Shinkokai -1941

1. Hien no kyoku (Ikuta-ryû)
uta: Kikuhara Hatsuko, koto: Kikuhara Kotoji
2. Rokudan (Shin-Ikuta-ryû)
koto: Nakahashi Gyômu
3. Shôchikubai (Ikuta-ryû)
koto: Yonekawa Fumiko, shamisen: Kawase Satoko, Fukuda Eika
4. Kogô no kyoku (Yamada-ryû)
koto: Koshino Eishô, Onodera Tamae, shamisen: Fujii Chiyoga
5. Chidori no kyoku (Ikuta-ryû)
koto: Yokoi Mitsue, kokyû: Satô Masakazu
6. Mikuni no homare (Ikuta-ryû)
koto (low): Yonekawa Chikatoshi, koto (high): Katô Jûko
7. Miyako no haru (Yamada-ryû)
koto: Yamamuro Chiyoko, shamisen: Chibu Tose, shakuhachi: Nôtomi Judô
8. Shin-sarashi (Yamada-ryû):
koto: Imai Keishô, shamisen: Yamase Shôin
9. Kumagai Jun'ya no dan from Ichinotani Futabagunki
jôruri: Takemoto Oritayû , shamisen: Takezawa Danroku, Nozawa Katsuyoshi
10. Kitsune bi no dan from Honchô nijûshikô
jôruri: Takemoto Oritayû , shamisen: Takezawa Danroku, Nozawa Katsuyoshi
11. Sakaya no dan from Hadesugata onna maiginu
jôruri: Takemoto Oritayû , shamisen: Takezawa Danroku, Nozawa Katsuyoshi
12. Nozaki-mura no dan from Shinpan utazaimon
jôruri: Takemoto Oritayû , shamisen: Takezawa Danroku, Nozawa Katsuyoshi
13. Sukeroku yukari no Edo zakura
jôruri: Yamabiko Yoneko , shamisen: Yamabiko Hideko, Yamabiko Yaeko
14. Matsu no hagoromo
jôruri: Miyako Ichiume, shamisen: Miyako Ichihana
15. Sekitori senryônobori
jôruri: Fujimatsu Tsurutayû, shamisen: Fujimatsu Tsurutodayû, Fujimatsu Tsuruhachi
16. Toribeyama
jôruri: Miyazono Senhiro, shamisen: Miyazono Senyae
17. Shin-utsubo
jôruri: Tokiwazu Matsuodayû, shamisen: Tokiwazu Mojibee, Tokiwazu Yaohachi
18. Ichikawa yamauba
jôruri: Tokiwazu Mitosedayû, Tokiwazu Mitosedayû, shamisen: Tokiwazu Mojibee, Tokiwazu Yaohachi
19. Kanda-matsuri
jôruri: Kiyomoto Umejutayû, shamisen: Kiyomoto Umekichi, Kiyomoto Umesaburô
20. Sanja matsuri
jôruri: Kiyomot Shizutayû, shamisen: Kiyomoto Eijirô, Kiyomoto Eiji
21. Echigo-jishi
uta: Yoshimura Ishirô, shamisen: Kineya Rokuji, Kineya Rokushirô, fue (flute): Katada Kisaburô, taiko (drum): Katada Kisaku, sasara (bamboo whisk): Mochizuki Taijirô
22. Aki no irokusa
uta: Yoshizumi Kotôji, shamisen: Kineya Rokuji, Kineya Rokushirô
23. Ayatsuri sanbasô
uta: Fujita Shinzô, shamisen: Matsushima Jusaburô, Kashiwa Senzaemon, fue: Katada Kisaburô, Mochizuki Taigorô, kotsuzumi: Mochizuki Tazaemon, ôtsuzumi: Mochizuki Taijirô, taiko: Katada Kisaku
24. Tsunayakata no dan
uta: Kineya Rokuzaemon, shamisen: Okayasu Kisaburô, Kineya Rokosuke, fue: Katada Kisaburô, kotsuzumi: Mochizuki Tazaemon, ôtsuzumi: Mochizuki Taijirô, taiko: Katada Kisaku

Liner Notes

Imai Keishô koto and Yamase Shôin shamisen
play Shin-sarashi

 CD $15.50

Kokusai Bunka Shinkokai -1941

Kumeuta; Azuma-asobi; Taishikichô chôshi; Koma ichôshi; Etenraku; Konron hassen;
Seigaiha; Chôgeishi; Taiheiraku no ha; Taiheiraku no kyû; Batô (kangen);
Batô (bugaku); Koromogae; Kashin

Buddhist Music
Tendai-shû: Shichisan; Shakujô; Kyôke; Taiyô; Rongi; Rokudô kôshiki
Shingon-shû: Ungabai; Kassatsu
Wasan: Shaka nyorai go-wasan
Goeika:Reijô Nachi-san

Liner Notes

Gagaku Taishikichô chôshi

 CD Coming

 AKIKAZU NAKAMURA is a shakuhachi teacher and jazz virtuoso. He graduated from NHK (Japan Broadcasting Corporation) school of traditional music. as well as from Berklee College of Music in Boston with summa cum laude (majored composition and improvisation). He studied at the New England Conservatory for graduate studies of composition major and toured over thirty countries commissioned by Ministry of Foreign Affair of Japan. Nakamura-sensei teaches traditional shakuhachi in Tokyo, however, has stretch the limits of this ancient instrument in ways that few others have such as innovating the use of circular breathing for shakuhachi.

S-N3l. NAYZEN [I] CD $19.50
Shakuhachi & Turkish Ney
with Kudsi Erguner

Shakuhachi & the end-blown Turkish reed flute performed by two master players.

Kudsi Erguner, one of the foremost nay masters of our times, is particularly famed for his activities helping to introduce Ottoman and sufi music to the world with internationally acclaimed projects and recordings. He lives and works in Paris as a musician, composer, musicologist, teacher and author.

Erguner comes from a family of Turkish musicians. His contact with many famous musicians from the older generation, who continually passed through his parents house, and his involvement with various Sufi brotherhoods, whose music and teachings Erguner studied, left their decisive marks on him. He received his training directly from his father, Ulvi Erguner, who was the last great master of the Nay. Kudsi Erguner studied also architecture and musicology in Paris, he has given concerts and played in major festivals throughout the world and has researched the music of India, Pakistan and Turkey, grounded diverse music ensembles, recorded numerous albums and has worked with such well known artists around the world.

Erguner is regarded as one of the most important pioneer and contributor to the Ottoman Sufi and classical music as well as to the world music with his original projects.

Learn more about these two traditional flutes in Dan Ribble's article on the subject.



WATAZUMIDO DOSO ROSHI (1910-1992) is perhaps the most legendary of all modern shakuhachi players and teachers. Amongst his many students is Yokoyama Katsuya, one of greatest players in Japan today.

Regarding himself as something other than a musician, Watazumido based his music in an uncompromising vigorous physical discipline. He was a practitioner of the Jo stick, a long hardwood pole with which he used to stretch, massage, pounds and invigorate his body in a daily regimen beginning at 3:30 AM each day. For over 3,000 consecutive days, he maintained this discipline.

Watazumido studied Rinzai Zen attaining the title of Roshi or Master and later became the Kanjo or unifying head of the Fuke sect of Zen Buddhism. He shunned traditional organized Zen practice for 32 years in favor of his own iconoclastic approach distinguished by breath training and vigorous exercise at its core. The lengthening of the "Out Breath" in his practice is directly descended from the wisdom of the breath as practiced in Zen.

Watazumido's music is as unique as it is intense. His style of shakuhachi playing is based on a discipline combining Zen breath awareness and the martial arts. He is known for the blowing an original, personal style of Honkyoku on bamboos of enormous size and length called hotchiku flutes.

S-W1c [J]
Shakuhachi & Hotchiku
Watazumi Humon / Itcho Humon

Watazumido Doso Roshi used the name Itcho Human up until 1938. This recording of his very early works was first released in 1974.

1. 'Yuri Sashi' (Ajikan) [1954]
2. Honshirabe [1954]
3. Reibo [1952]
4. Azuma Jishi [1954]
5. Tsuru no Sugomori [1954]
6. Tamuke [1952]
7. Koku (Mono) [1952]
8. Watazumi no Shirabe [1954]
9. Yuri Sashi [1940]
10. Sanya [1940]
11. Sagariha [1943]
12. Reibo [1942]
13. Yamato Shirabe [1943]
14. Saji [1941]
15. Tsuru no Sugomori [1941]
1. 淘薩慈 (阿字観)
2. 本調 (テープ録音)
3. 霊慕
4. 吾妻獅子
5. 鶴の巣籠り
6. 手向
7. 虚空
8. わたづみの調
9. 淘薩慈
10. 三谷
11. 下り葉
12. 鈴慕
13. 大和調べ
14. 薩慈
15. 鶴之巣籠



25th Anniversary Commemorative Reissue

S-W1b [J]

(Translation: Musoshoku - "Non-adornment ". Muchoon - "Non-tuning".)

New digitally remastered recording of Watazumido's very first public lecture-demonstration & concert of Dokyoku in Japan, held at the Tokyo Metropolitan Festival Hall on December 5, 1973.

This event was marks the unveiling of Watazumido's philosophy and spiritual practice. Before this time, he had refused any discusion or revelation of his philosophy. The program was divided into three parts: 1. Lecture on Avant-Garde Philosophical Principle; 2. Practice of Watazumi-Dojo; 3. Training of Suijo ("Blowing").

無装飾無調音 ~ 海童道祖
1. Honshirabe
2. Shingetsu
3. Tamuke
4. Shishi
5. Tsuru no Sugomori
6. Kyorei
7. Koku
8. Dai Otsugaeshi
9. Kaze
10. Sagarinami
11. Korosugagaki
12. Matsukaze
1. 本調(ほんしらべ)
2. 心月(しんげつ)
3. 手向(たむけ)
4. 獅子(しし)
5. 鶴の巣籠り(すごもり)
6. 虚霊(きょれい)
7. 虚空(こくう)
8. 大乙返し(だいおつがえし)
9. 風
10. 下り波(さがりなみ)
11. 転菅垣(ころすががき)
12. 松風(まつかぜ)

MAMINO UNRYU YORITA / 寄田 雲龍 真見乃 is a truly remarkable shakuhachi player and a prodigy of the highest order. In 2006, at the age of 15, she became the youngest woman ever to be awarded a Shihan by the Tozan-ryu. This extraordingary accomplishment was acknowledged by the press throughout Japan. Wanting to learn classical shakuhachi, Mamino began studying Kinko ryu honkyokuwith Yoshinobu Taniguchi soon thereafter. She has also studied with Living National Treasure Aoki Reibo and Katsuya Yokoyama, who referred to her as a "genius". Her remarkable accomplishments testify to this fact. In just one year, she passed the Dai shihan (Grandmaster) exam (Kinko-ryu) and in 2008, passed the Dai shihan (Grand Master) exam (Watazumido, Fuke Meian ryu, Koden classical shakuhachi and Azuma ryu). At the age of 18, even before graduating from high school, Mamino received the Meiyo Dai Shihan rank (Honorable Grand Master), an achievement that was totally unprecedented. In 2009, she gained admission to Tokyo Geijutsu Daigaku (Tokyo University of the Arts) where she presently studies shakuhachi.

MAIDEN VOYAGE - 初音 / はつね

1. Hon Shirabe - 本調
2. Tamuke - 手向
3. Shin no Eko - 真の回向
4. Sou no Eko - 艸の回向
5. Godan Sugomori - 五段巣籠
6. Koden Sugomori - 古伝巣籠
7. Shika no Tone (Solo)- 鹿の遠音 (独奏)
8. Kumoi Jishi - 雲井獅子
9. Shika no Tone (Duet) - 鹿の遠音 (二重奏)
Shakuhachi 1: Yoshinobu Taniguchi / Shakuhachi 2: Mamino Yorita
尺八1:谷口嘉信 / 尺八2:寄田真見乃

10. Henro - 遍路
(Composed by Kineya Seiho) (杵屋正邦)
Shakuhachi 1: Yoshinobu Taniguchi / Shakuhachi 2: Mamino Yorita
尺八1:谷口嘉信 / 尺八2:寄田真見乃

Recommendation by Yoshinobu Taniguchi

"My first meeting with Mamino Yorita at the Meianji shakuhachi memorial concert had the feeling of destiny. I played an ancient pilgrim’s song that moved her to tears. At the time, Mamino was only 15 years old although she had already achieved the rank of Master of the Tozan ryu. More importantly, it was very clear to me that she had a very pure spirit. Since then, Mamino has studied with me for the past four years during which time she received the rank of Meiyo Dai Shihan (Honorable Grandmaster) in all shakuhachi styles.Through our collaboration she has mastered all 36 Kinko ryu honkyoku, all the Kinko sankyoku (ensemble) pieces, all of the classical Watazumido honkyoku, all of the Fuke Meian pieces, modern music, lyrical scores from around the world, lullabies and Azuma-ryu compositions by Fukuda Rando. Right now she is studying at the most prestigeous music school in Japan, Tokyo University of the Arts. I consider her to be a great blessing and am confident that she will soon be widely acknowledged as a leader in the shakuhachi world."

- Yoshinobu Taniguchi

One of the foremost living masters of shakuhachi in Japan today, Taniguchi-sensei studied under three great pillars of shakuhachi—Aoki Reibo, Yamaguchi Goro and Yokoyama Katsuya. He is a recipient of the transmission of Koden honkyoku through Watazumido Doso Roshi and Yokoyama Katsuya.

推薦状 - 谷口嘉信

私は「供養の曲」を献奏しましたが、その演奏を 彼女はあふれる涙のままに聞いていたのでした。
 彼女の尺八にはほかの追随を許さぬ程の才能を感じましたので、彼女が十五才の時に彼女を連れ上京し、人間国宝 二代目 青木鈴慕師に「琴古流尺八本曲」や「八重衣」「鹿の遠音」等の直伝を受けました。同時に世界的尺八奏者 横山勝也師に「古伝尺八 本曲・海童道道曲」や「吾妻流本曲(福田蘭童曲)」や現代曲等の直伝を受けました。
 古伝尺八本曲の域に達する陽 と陰 の吹き分け、ウ(A♭)の6種類の吹き分け、
スズルの各種の吹き分け、継色(ツグリ)の吹き分け、御詠歌、巡礼歌の吹き分け、ヱルの技法、 の技法、浮宙技法等の秘伝秘手を全て習得しました。
 素晴らしく成長しました真見乃さんを推薦する次第です。 合掌

谷口 嘉信


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