How he came to the shakuhachi, and what the lineage asks
Riley Lee talks through his beginning in 1970, the instrument itself, and what carrying the komusō repertoire has meant for his own playing.
Zen · Zen Shakuhachi
Shakuhachi grand master, granted the rank of dai shihan in 1980 and carrying two lineages back to the komusō, the wandering Fuke Zen monks for whom playing the honkyoku was not performance but suizen, blowing zen: the breath itself as meditation. Born in Texas, living in Australia, and the author of a doctorate on how that Zen repertoire is handed on.
Shakuhachi grand master, born in Plainview, Texas, in 1951 and living in Australia since 1986. He began studying the bamboo flute in Japan in 1971 under Chikuho Sakai, has been a student of Katsuya Yokoyama since 1984, and was granted the rank of dai shihan, grand master, in 1980. He carries both lineages back to the komusō, the wandering Fuke Zen monks of the Edo period for whom playing the honkyoku was not performance but suizen, blowing zen: the breath itself as meditation. He was also the first non-Japanese to play taiko professionally, touring with Ondekoza from 1973. His 1993 doctorate in ethnomusicology at the University of Sydney was on the transmission of the shakuhachi's Zen repertoire, and he has recorded more than sixty albums.
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Short introductions and longer conversations, to hear this artist in their own words.
Riley Lee talks through his beginning in 1970, the instrument itself, and what carrying the komusō repertoire has meant for his own playing.
One honkyoku played whole, live in Helsinki: Nagashi Reibo, the Kinpu-ryū piece on yearning for the bell, on solo shakuhachi.
Riley Lee's full Taplin Auditorium recital, honkyoku and newer pieces, with his own spoken introductions between them.
Direct meditative practice, zazen and everyday awareness in traditions rooted in Chinese Chan and its later forms.
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