I have a group of really wonderful shakuhachi to work on right now but NY1 was on this morning and I found myself swept up in the Linsanity. I’m not a basketball fan (I’d rather go the the ballet any day), but how can I not be swept up in Jeremy Lin’s journey right now. He must be walking an amazing path.

On to the restorations.
Namaste, Perry

These flutes came in for evaluation after purchase. The blue tape represents areas where I need to apply my method of Spot Tuning either by removal or addition. My method is not subjective. It is based on the rigorous demands of shakuhachi music. There are flutes that should not be retuned for historical reasons but that is a different issue and not the case here. The flutes above were able to make sounds, but once they were put through the test of shakuhacjhi music, they all failed to some degree. They did not play freely or properly in specific ways. Beginners should not have to adjust their technique (which often means wrestling with a flute) as this would impede proper development of the embouchure. My Spot Tuning Method is based on creating a functional shakuhachi for shakuhachi musical performance. This is a high standard set in Japan. I first check for proper pitch and if that is acceptable, I then focus on bringing the dynamic response of each note into the proper range. Tuning for pitch is a modern, western concept so I have to weigh out what is best for each flute and the style of music the player will start with. Different teachers have different demands so it helps if I know your teacher.  The world’s top traditional players look for an instrument that is fluid flute with a sense of freedom. Nobody should have to play a difficult flute.

On that note, I was at Jet’s dance class recital at school last week. Seeing the kids dance with abandonment was affirming.  As adults learn to be ashamed or embarrassed about our bodies, but children haven’t been learned to be shy yet and so they move freely. This was most likely a product of a good teacher also.  It was not only a reminder of what is important in a shakuhachi, but in life. We should all move through life freely. If you have a flute that needs “adjustment”, don’t be shy, feel free to inquire about my free evaluation.

Another fun activity last week was the Chinatown new Years Parade.

The Chinese New Years PAaage in Chinatown is one of the most exciting events for in NYC (IMHO). Families of all ethnicity gather to celebrate this pagan ritual regardless of religious belief. Sasa and Jet ran around throwing poppers on the ground.

After the parade, we went to our favorite “Oriental” emporium - Pearl River Mart - in Chinatown/Soho looking for some new design elements for our home.
I love New York City.
Namaste, Perry

The Universal Flute:
A Concert of Contemporary American Music for the Shakuhachi Performed by Ralph Samuelson with guest artists Nancy Beckman and John Singer (shakuhachi) 
This program features compositions for the Japanese bamboo flute, shakuhachi, by American composers, including works by Henry Cowell, Elizabeth Brown, Richard Teitelbaum, and Barbara White.

Date: Feb 08,2012
Time: 07:30 PM - 09:00 PM
Meridian Gallery
535 Powell Street San Francisco, CA 94108
Phone:415 398 7229

Ralph Samuelson is a performer and teacher of the Japanese bamboo flute, shakuhachi.  He was trained in the classical tradition of the Kinko School under the tutelage of the late Living National Treasure Goro Yamaguchi, as well as by Shudo Yamato and Kodo Araki V. He began shakuhachi studies in 1969 as a graduate student in the World Music Program at Wesleyan University and studied traditional music in Tokyo in the 1970s under the guidance of the distinguished musicologist Fumio Koizumi.  Mr. Samuelson has performed in leading concert venues in New York, around the United States, and in Europe and Asia.  He has been presented in live radio and television broadcasts in the US and Japan and has recorded for Music of the World, Lyrichord Records, CBS Masterworks, Axiom, Tzadik, and other labels.  In 1991 and in 2008 he was the featured shakuhachi soloist in the New York City Ballet’s production of Jerome Robbins’ “Watermill”, with music by Teiji Ito.  In spring 2011 he was an artist-in-residence at the Lou Harrison House in Joshua Tree,California; and in fall 2011 he was a guest artist at the Seoul Institute of the Arts in Korea. Since 1976 Mr. Samuelson has also worked as a foundation professional facilitating and supporting international cultural exchange, and from 1991 to 2008 he served as director of the Asian Cultural Council, a foundation supporting exchanges in the arts and humanities between the United States and Asia.

Date: Feb 08,2012
Time: 07:30 PM - 09:00 PM
Meridian Gallery
535 Powell Street San Francisco, CA 94108
Phone:415 398 7229

Ralph Samuelson is a performer and teacher of the Japanese bamboo flute, shakuhachi.  He was trained in the classical tradition of the Kinko School under the tutelage of the late Living National Treasure Goro Yamaguchi, as well as by Shudo Yamato and Kodo Araki V. He began shakuhachi studies in 1969 as a graduate student in the World Music Program at Wesleyan University and studied traditional music in Tokyo in the 1970s under the guidance of the distinguished musicologist Fumio Koizumi.  Mr. Samuelson has performed in leading concert venues in New York, around the United States, and in Europe and Asia.  He has been presented in live radio and television broadcasts in the US and Japan and has recorded for Music of the World, Lyrichord Records, CBS Masterworks, Axiom, Tzadik, and other labels.  In 1991 and in 2008 he was the featured shakuhachi soloist in the New York City Ballet’s production of Jerome Robbins’ “Watermill”, with music by Teiji Ito.  In spring 2011 he was an artist-in-residence at the Lou Harrison House in Joshua Tree,California; and in fall 2011 he was a guest artist at the Seoul Institute of the Arts in Korea. Since 1976 Mr. Samuelson has also worked as a foundation professional facilitating and supporting international cultural exchange, and from 1991 to 2008 he served as director of the Asian Cultural Council, a foundation supporting exchanges in the arts and humanities between the United States and Asia.

Hi All, I was just practicing for my next lesson with Ralph and wanted to check a passage on the piece I was working on. Instead of finding the section on my lesson recording, I decided to reference it on the 10 Disc Honkyoku set of Yamaguchi Goro. That little excursion turned into a two-day listening experience that left me both humbled and inspired.  Yamaguchi’s playing reaches beyond music. It has the “x factor”, that unnameable thing that seems to embody the art of all the greats. Perhaps it’s simply just called soul - the unique heart and passion of the player. Yamaguchi’s playing is, for lack of a better description, full of soul. This is not only good shakuhachi music, but truly great music beyond cultural categorization.

See this youtube video uploaded by John Singer. It is Part 2 of Sokaku Reibo. Thanks John, for making these videos available. Yamaguchi Sensei’s playing is deep and full of the rich subtleties everyone talks about. And yetis also penetrating and powerful beyond description : http://www.youtube.com/watch?v=Z_nEuAxqHVw

During the two days of listening, I continued work in the shop. Here was a unique commission. I rarely take these on but I’ve been in dialogue with the client over the past few years. He sent a piece of bamboo from a domestic source. The bore was actually too big for the length. This is one of the reasons why I don’t normally take these types of commissions, you never know what will arrive in the mail. The aspect ratio (length X diameter) was not good for conventional Jinashi shakuhachi making.

However, there are ways to make it perform at the highest level the AR will allow with no Spot Tuning . Here, I am opening up the holes and undercutting deeply to match the large bore. I am using a special Japanese carving knife that is half rounded on the back and razor sharp on the edge. It cuts like butter without grabbing the bamboo. Other knives leaves the wall and edge somewhat serrated requiring an electric Dremel tool or sandpaper to finishl.

The end result. The urushi can go right on.

I always take a deep breath when a flute come in like this as one never knows exactly how much work this will take. But, it makes me happy to be able to tell the owner that it can be fixed and it will play like it did before, if not better.

The sticker was old and fixed on quite well so I needed to use “Goo Remover”.

After a few days in the humiode box and topical cord bindings. Next is a coat of urushi to protect from dirt and hand oils.

The hanko of Zenmura.

Even though my shop and teaching was full this week, I (happily) found time to volunteer as an art supervisor for Jet’s First Grade class. Every class in his school creates a piece of art for their annual Earthball Art Auction Fundraiser. I worked as a picture framer in my early years in NYC so this was a piece of cake.

I actually pitched making Yoko Ono’s conceptual Wish Tree as that would’ve been quicker, but I think the other parent’s idea of having the class make self-portraits was better. Had we not done this, the world may never have been blessed with this incredible, beautiful and powerful yin and yang portrait on the right.  I know I’m going to bid!

Lastly, a big Molto Grazie to Fabio in Italy for winning the UNICEF Daily Zen shakuhachi and joining me and hundreds of shakuhachi players, musicians, zen practitioners and plain folks world wide in helping to make the world a better place for our underprivileged children. I am going to make this a weekly thing so here is the next Daily Zen Shakuhachi UNICEF auction on eBay: http://cgi.ebay.com/ws/eBayISAPI.dll?ViewItem&item=140676518551

Namaste, Perry

Click on the arrow to play the tune. (Played on Earth Model 1.8.)

Hello dear friends, as we close 2011, I’d like to share with you some of thoughts that cross my mind, and guide my hand. As many of you know, I have two careers, one as a performing artist of the stage and the other as a shakuhachi craftsman. (The full time job of being a supportive partner and father is a whole other thing!) I am always thankful and grateful that some find me talented enough to hire me to perform in their plays, musicals and performance art pieces. I have been in New York City for over twenty years practicing art in various forms and I am the first to understand that much of what amounts to success can often be attributed to luck - meeting the right people at the right time etc… I can say with all honestly that I am somewhat lucky to be a working artist in New York City, a city that is boundless in what it offers, but yet can reap more than what an individual can give. I was lucky that I managed to become part of a wonderful, supportive theatre community, a group of people who give more than take. Most performers do it for the love of the stage or the craft, but underneath the lights the greater reward, for me, is the sense of community that is created. (You gotta love people to be in the theatre business). They remind me that we are happiest when we are part of a community with a shared goal. And because of them, I bring this sense of community to my workbench where I am usually alone when crafting and repairing flutes. I can not physically feel most of my shakuhachi friends in the same way since we are spread all over the world, but I know in my heart that we are all striving for the same thing. I may be wrong, but I think this is called peace. So, my message at the end of 2011 is to say a sincere, “Thank you”. Thank you for your support, comments, suggestions and for listening. And, a special thank you to those who have joined me in support of UNICEF. Many of you know that a portion of every shakuhachi I sell on eBay goes to UNICEF to help the world’s neediest children. Here is one such live auction: http://www.ebay.com/itm/2-0-DAILY-ZEN-SHAKUHACHI-BAMBOO-FLUTE-PERRY-YUNG-UNICEF-SPECIAL-DONATION-100-/140671809650?pt=LH_DefaultDomain_0&hash=item20c0b17872

100% of this auction goes to UNICEF. Thank you for joining me in helping to make the world a better place.

These Japanese Madake pieces are from my friend in Japan. Soon, these will be in my shop.
Aside from some repairs such as this one:

I have a bit of commissions I intend to finish soon. 2012 is going to be filled with the usual challenges and I can’t wait to learn and grow from them all.

May you and your family have a healthy, safe and joyous 2012.

A deep bow, Perry ]]> 2011-12-31T19:15:48+00:00 http://yungflutes.com/blog/entry/Happy_holidays_from_us_to_you/ http://yungflutes.com/blog/entry/Happy_holidays_from_us_to_you/#When:18:32:16Z
Hello everyone, I just shipped out the last shakuhachi of 2011. Now it’s just me and the family for a week of festivities.
What an amazing years it has been, full of touring, performances, workshops, retreats, the Vangelis concert and ending with sending shakuhachi all around the world for Christmas. I personally can not think of a better present than the gift of peace.

The experience of playing in Vangelis’ concert in Qatar is deepening by the day. It was, for lack of a better description, a full-throttled wacky, mind bending experience (some of you may recall that Vangelis scored the cult classic film Bladerunner). The artist, the place, the people, the culture, the circumstance, the musicians… it gets more and more astonish as I reflect upon it. One amazing moment I need to write about is how the many participants, members of disparate cultures, were able to come together backstage and dance uninhibited to spontaneously music of the moment. Perhaps it was the full moon? I think it was a rare moment for all of us seize, to prove that if artists ran the world, there would be no wars. This event will surely grace my blog for some time to come as it was filled with so many elucidating, affirming experiences.

I was born into family of immigrants who came to America on borrowed airline tickets and only the clothes on their backs. I was a fortunate accident and that certainly didn’t help matters. I was always told that I never had any new clothes or toys, and that my parents always worked overtime just to make ends meet. But, it never occurred to me that we were poor. Our home was always warm, filled with love, music, art and laughter.  When I was about 10 years old or so, my mother said, “To be a good person, you must help others. It is your duty on earth.” And when I went to college, becoming the second in our family history to receive a college degree, she was a little worried that I decided to study art and not something that would land me a job. I said. “No worries mom, I’m going to help others with my art! That simply philosophy stay with me and has always infused my theater and flute work. These thoughts flashed through my mind as I sat on stage, warming up the shakuhachi during the tech rehearsal for the Vangelis concert. When the orchestra started rehearsing Chariots of Fire. I had to ask myself, How did I get here?’

Backstage with Vangelis and Jeremy Irons.

Because of my art, I’ve had the enormous privilege and honor of performing all over the globe. BC (before children), I would be on the road for months in Europe and/or Asia. By the last show, it was always nice coming back to New York City. There’s no place like home.

42nd St New York City. Dec 22, 2011.

Happy Holidays my frieds. May your dreams come true.
Namaste, Perry

This is a shot of the Qatari Philharmonic Orchestra performing Hope by Vangelis. Those are fireworks on the back shot from a ship on the Persian Gulf. When I first picked up the electric guitar at the age of thirteen, I fantasized that one day I would play to a packed stadium like my heroes Led Zeppelin or the Rolling Stones. Never could I have dreamed I would come close to this fantasy by performing with the world renown Vangelis, composer for Chariots of Fire. But instead of the guitar, for an audience of thousands that included the Queen of Qatar, the Crown Prince, world ambassadors and Secretary General Ban Ki-moon of the United Nations, I played the shakuhachi bamboo flute. Vangelis was invited to compose and create this event for the grand opening of the magnificent Katara Amphitheater with hopes of introducing art and culture from all corners of the world. Jeremy Irons announced, “You called, we came - now let us deliver our message of hope.” The show began with an Arabic singer calling across the space with a powerful, yearning voice. It was soon answered by Native American voice and drum, Aborigine didgeridoo, Yemenite oud, Arabic kanoun,Turkish ney, Indian sitar, Japanese shakuhachi, Chinese erhu, West African kora, and African drums. Each with it’s own unique voice in the world of music, the instruments symbolized harmony among peoples of the world. On December 11, 2011, in Doha Qatar, I believe Vangelis delivered his message of Hope loud and clear. I was honored to have been a part of it. Stay tuned as I’ll write more with photos as I process this amazing experience.

Peace to you my friends, Perry

The Emir is commemorating the new Doha amphitheater in Katara Culture Village and Opera house with a 150 member orchestra concert featuring top opera stars and a 160 member childrens choir from Russia. They are also presenting some of the world’s most iconic ethnic music, such a Native American drumming, Chinese erhu, Turkish oud, West African Kora and me on shakuhachi, to name a few. What an experience it has been so far. I got off a 12 hour plane flight and went right into rehearsals (until after midnight. No union here). There’s going to be a laser light show and fireworks and everything projected onto the huge video screens. (which I was told is the biggest in the world thus far). Notice the raised circle platform in the middle of the stage. That’s where they decided to put me, front and center….gulp. This huge event has been unpublicized because its done in conjunction with the Fourth United Nations Alliance of Civilizations and they are worried about security. I can’t mention any names until Monday. There’s a couple of big ones so stay tuned
Ma’a salama, Perry

Dec 10 - Dress rehearsal ended after midnight. Met Jeremy Irons, whom I’m a big fan of, so it was extra special when he asked about the shakuhachi.

160 member international childrens choir, adult Russian Choir, 150 member Western orchestra, 2 opera singers ( Italian and French) and us - a 9 member world music group (I know, it should be much larger!).
The band

Vangelis, the composer of the event, has a lot on his plate. The music is wonderful.

They were still fixing the giant video screen moments before the tech rehearsal started.

So far, from my limited exposure between the hotel and Amphitheater, I have found Doha to be a city bustling with raw yet focused energy in both commerce and the arts. The Qatari people are not only some of the nicest people I’ve eve met, full of openness and warmth, but are also intriguing, to say the least.

The city is a mixed of fast rising concrete. (view from the suite)

And, a desert and lake.

As always, here’s my viewpoint from the stage.

The shows at 8pm tonight!

I am always struck by the range of depth one can access when viewing art. In particular, when ones begins to understand a bit about a particular artist’s process, the work becomes so much richer. The photo above is just a simple sharecroppers shack. Shot beautifully with a perfect eye. But, after knowing of Barney’s situation, this work now resonates deeply with indelible strength. It is a symbolic edifice that stands triumphantly against the elements of time.

It is in this respect, I’d like to share my process on why I make shakuhachi. I have made art all my life, being an award winner from the first grade to my professional career.  I know that art brings happiness not only to the viewer but the maker.  I think that the flute represents a synthesis between viewing and practice, between passive and active. My shakuhachi challenges the player to not only passively accept my view of the world, but to act and become engaged in what ever they need or desire to explore. I have a sense that my instruments will out live me. And my hopes are that they will bring joy to many lives during their time.

I understand that this is a tough time of the year for many, financially and emotionally. If you are financially challenged at the moment but have been wanting to try the shakuhachi. I have listed several nice EARTH Models on eBay. This 1.5 is discounted for the Holidays.
http://www.ebay.com/itm/GREAT-1-5-EARTH-MODEL-SHAKUHACHI-BAMBOO-FLUTE-PERRY-YUNG-CYBER-MONDAY-SPECIAL-/140644902556?pt=LH_DefaultDomain_0&hash=item20bf16e69c

Earth Model Natural Utaguchi.

Happiness, or at least the tools to obtain it, is not a luxury. I believe it is a right anyone can own. My life is dedicated to making the world a better place. Please do not hesitate to let me know how I can help you, regardless of cost.

On that note, I am off to Williams college today to lead a shakuhachi making workshop. Aside from making and performing, I truly enjoy teaching the craft of shakuhachi making. The process is rich and rewarding beyond measure. Crafting an instrument can lead one to peace in the same way as playing the flute. I was talking with two shakuhachi players once on how they prepare for a performance. One said that he practices all day. The other says he has a beer before the show. Since it’s early now, I’m going to blow RO this morning before I pack for the workshop

Have a great day!
In gratitude, Perry