Meeting with Taniguchi Yoshinobu

Returning back home on Monday night, I was a bit nervous because the number that Zachary Braverman gave me was not working, and we were scheduled to meet him the next morning for him to take us to Taniguchi`s place. Zachary is the one who asked Taniguchi if it was alright for us to visit him at his Ryokan and have a workshop with him. Zachary has been studying with Taniguchi for 6 years and is devoted to him and his style of playing. I connected with Zachary about 5 years ago when I was studying in Tokyo and he sent me 4 of Taniguchi`s CDs which I was very impressed with. Anyway, when I checked my email upon returning from Nara, I was relieved to find an email from Zachary with his corrected telephone #. There was also a message at the Ryokan from Zachary with our meeting time the next morning from Kyoto Station.

We met Zachary the next morning at 10 am in front of Kyoto Station. Our train departed at 10:25 bound for Amenofurudate on the Japan Seaside. It was a beautiful scenic ride which took approximately 2 hours. During the ride I got to know Zachary Braverman. I previously knew Zachary mainly from his translations of Kakizakai sensei`s blowing tips. So it was really nice to get to know him better on a personal level. Zachary was originally a student of Phil Gelb in the Bay Area and then Kurahashi Yoshio. He met Taniguchi through Michael Gould and fell immediately in love with him and his playing. He is married to a Japanese woman and has one 2 year old child. They just recently relocated to Kyoto fron Oita Prefecture in Kyuushuu, which makes it easier for Zachary to take lessons with Taniguchi.

I had no idea what to expect from Taniguchi. Even though I`ve heard various things about Taniguchi from others, I kept my mind open and clear of any judgements. We arrived at the station near Taniguchi`s place at 12:30 and the ryokan was only 2 minutes from the station. It started to rain so we hustled to the ryokan as fast as we could. The ryokan as a very cozy little place on the corner of a main street of the little town. We were greeted by Taniguchi`s wife and show to our rooms. Then we took our flutes to the main house where the practice space was. In the entrance were exquisitely carved figures of Kannon, laughing big-bellied buddha, and the long-headed taoist Fukurokuju, guardian of childern. As we walked up the stairs to the hall leading to the practice space we were suddenly greeted with a fanfare of `Hey Jude` played on the shakuhachi along with the background music of the piece. It was kind of surreal as it was totally unexpected. We put our bags down in the waiting room and took out our shakuhachi. Then we were given each a packet of sheet music with various pieces and detailed explanation of excercises. I was only expecting to stydy Ajikan and Shishi and we were given much more. Then we finally met Taniguchi as we entered his keiko space. I was immediately struck by his bright, intense energy. He looked kind of unearthly, with his ultra-thick black, horned-rimmed glasses that made his eyes bug out. And his shining smile like the sun. He wore a white, silk samue top and black pants. We all sat down and then he started to play. From there, we spent the next 10 + hours learning from him. He taught in the traditional fashion where the student would imitate the teacher as best as he could. If you couldn`t keep up, that was your problem. He went at his own speed: fast. It was definitely frustrating for the beginners, even with Zachary translating everything into English. But very valuable for everyone. Not only did we study Ajikan and Shishi, but Goieka, Honshirabe, Tamuke, Koka, and various other pieces as well! I found him to be a very generous and giving person with a great love for the shakuhachi and great creative spirit not unlike Nishimura Kokuu. His sumie drawings are truly inspiring and beautiful. He has studied with the greatest of the mainline shakuhachi masters: Aoki Reibo, Yamamoto Hozan, Yamaguchi Goro, Yokoyama Katsuya and even Watazumi Doso. He repeatedly emphasized that the honkyoku techniqhes he teaches were forgotten by the main schools of Tozan, Kinko, and even Meian. And he is proud that the top young players in Japan today such as Fujiwara Dozan, come to study honkyoku with him. I felt very comfortable with him and his playing style as it is quite close to Yokoyama`s style which I was taught by Kakizakai sensei, so I was enjoying every minute of my time with him as I already have a solid foundation in playing. We played Shika no Tone together as well as San-an, and Ichijo. It was very interesting to see and feel his style which is very rich and creative, and full of dynamic quality. He is extremely musical with great sensitivity to pitch and rhythm. After everyone left to go to bed in the evening I spent an extra three hours with him playing along with Zachary. We also talked about the importance of having a good flute to play with and who the good makers were. Apparently, Taniguchi has a collection of over 500 flutes many of them antique and of very high quality. He spoke very highly of the maker, Miura Ryuho who is actually a family relation. He has a photo of him and Yokoyama Ranpo when he was still alive. And a picture of him and Yokoyama Katsuya and Fujiwara Dozan.

I got to bed around 1:30 am. What an incredible day of pure shakuhachi study! I wish I could spend a whole week with Taniguchi. Anyway, we`ll be back next year for another workshop.

The next morning after breakfast was a few hours again of shakuhachi study. He introduced us to a Fukuda Rando piece that Yokoyama sensei never played, which was very nice. Then the piece, Koka by Nomura Sofu. Then I went through the great piece, Ichijo with him which was fantastic! At 12 noon, we had lunch then we headed to the train station at 1 pm where we caught the 1:30 train back to Kyoto.

It was another unforgettable experience. I was very moved by Taniguchi`s giving and generous spirit.

To be continued....

Alcvin
www.bamboo-in.com
ramos@dccnet.com