Hello all, I am frequently asked, “Why don’t you have any shakuhachi to for sale?” Well, I make nearly all my flutes on commission these days as the shop is always busy with repairs, restorations and fine tuning for professionals. You have to remember that I am a one person operation and work in the traditional manner of most Japanese craftsmen. My flutes are hand made with patience and care so that they reflect the deep beauty of Japanese culture. The photo above shows some of my 1.8 stock for my high end instruments. They range from about 5 - 15 years old (or more). These pieces were obtained over the last 10 years from Kinya Sogawa who gets it form his supplier in Nara, Japan. The classical 1.8 with proper node spacing are difficult to find in a bamboo grove. One can spend all day looking and not find a single 1.8 piece. Many traditional makers who harvest their own bamboo still have to get their 1.8 stock from special bamboo harvesters (yes they exist!). Today, I am starting on a Chikusing 1.8. I am always extremely grateful to those who come to me as there are many options these days. I am even more surprised when I tell them the wait can be 6 months and they say, “No problem”.  To these people I say, “Great. You will have the best flute I can make. It will not only play with all the advanced fingerings required of shakuhachi music, but in time will feel like a friend who will always be there for you.

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Welcome to the home of New York City performing artist and professional shakuhachi craftsman Perry Yung. My work in with this special instrument ranges from crafting and repairing of traditional flutes to performing in theater, recording for film and in concert with both traditional and contemporary music, most notably with the renown composer Vangelis (Qatar 2011). In 2002, I received support by both the American and Japanese governments to specifically study shakuhachi making and playing in traditional lineages. I received combined grants from the Japan-US Friendship Commission, National Endowment for the Arts and the International House in Tokyo that enabled me to travel throughout Japan to meet with both Zen and modern shakuhachi makers and master players. I was introduced to my main shakuhachi making and playing sensei, Kinya Sogawa, through my New York City shakuhachi teacher, Ralph Samuelson. Before I embarked on my journey to Japan, I had been performing on the shakuhachi in experimental theater productions internationally with La MaMa E.T.C. What I experienced in Japan was utterly fantastic and beyond the scope of an introduction. It would be both a privilege and honor to share that experience and encourage any questions what so ever.

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