Florida Shakuhachi Camp kicks off in just a couple days. I will be posting pictures and info here after the camp. It is beautiful outside and we still have room for one more if anyone changes
If you are still considering coming to camp I need to know by Sept 15 so I can reserve your room. Please email me at brian@floridashakuhachi.com if you have any questions. Thanks!
I commissioned a young lady to draw a komuso print for me to offer for sale for those that are interested. It is on 11"x17" acid free card stock and the actual image is 9 3/4"wx16"h. The cost of the prints is $20usd plus $5usd shipping in the states and $10usd overseas. Below are some pictures of the print with some close ups to show the detail in the print. brian@floridashakuhachi.com





I headed out Friday morning to Cleveland, OH for some very needed one on one time with Michael Chikuzen Gould. After jumping through the airport hoops on the way I finally arrived in Cleveland where I promptly took the train from the terminal to meet with Chikuzen. It had been some time since I had studied with him in person as real life tends to catch up with us all.

When I got there he picked me up at the train station waiting with that big Chikuzen grin I have grown accustomed to seeing every time we meet. We hopped in the car and went to his house for some quick BBQ and went right to playing.

It always amazes me how effective in person intensives with a great Sensei can be. Skype is a great tool to use for weekly lessons but I definitely feel they should be in partner with the quarterly one on one meeting whether it be at a camp or one of Chikuzen's bed and breakfast retreats where you get his attention for one weekend solely.

We worked through some of the pieces I have been working on for some time now including Yamagoe, Yama Tani, Takiochi and others. I love how he breaks pieces down into bits sized morsels you can actually ingest in a useful way.

If you are like me, you have pieces you play and there are always portions that you aren't quite 100% sure about. Sometimes, even using Skype I don't quite get it in total for some reason. Sitting there with him and having him casually observe my playing throughout the weekend gave him the ability to really assess my strong points and week points. Towards the end of the weekend Chikuzen wrote out some "homework" based on what he saw I needed to work on most and gave me some much needed forward momentum.

If you couple all the shakuhachi playing and learning with great food and some casual walks through some of the most beautiful neighborhood parks I have seen in some time with his dog, Casey, you have the recipe for a great shakuhachi experience!!! I really want to thank Chikuzen for his great hospitality and for giving what he worked so hard to learn, so freely. It was a great trip with some great lessons and even better memories!! I don't think it would have been possible to have a more relaxing yet highly productive weekend with an old friend and great Sensei!


I saw Ray Brooks posted on facebook that there was a new version of Blowing Zen with a new chapter and more pictures.  I just received it from Amazon and at first glance it is nice. The paper is better quality and the chapters have pictures as you read to help you envision the characters in his story.  I am going to read it on my trip to spend the weekend with Chikuzen and I will post a review afterwards. I have read the book before and I can only imagine the new additions will make it even more enjoyable.

We will be having the next FL Shakuhachi camp on October 7-9 2011. It is a great time of the year to visit FL and participate in this workshop. It is an intensive weekend of shakuhachi playing in a relaxed nature setting taught by Michael Chikuzen Gould. The price for the camp is $400 and that includes private and comfortable accommodations. The camp is restricted to 7 people so there will be plenty of personal attention paid to all players and their needs.

It will cater to all levels with particular attention being paid to helping beginners and intermediates develop a strong foundation to help them prevent the obstacles which slow most players development down. Please feel free to contact me at brian@floridashakuhachi.com with any questions or comments.

For full details including pictures of thearea and accommodations and schedule, please see: Florida Shakuhachi.
An interview with Michael Chikuzen Gould

How long have you been playing shakuhachi?


28 years.


How did you discover the shakuhachi?


I was living in Kyoto and saw a poster announcing a shakuhahci concert. I wasn't sure what it was but I had some time that day before work, and it was close by and starting soon so I went to check it out. I thought the guy on the poster was a samurai.


What aspects of the shakuhachi most appealed to you when you first discovered it?


The sound(s.


Who were your main influences and what style initially appealed to you most?


Someone introduced me to John Neptune's teacher, seeing that John had just left Kyoto and was fairly well known there since he did non traditional stuff that got a lot of attention. The person introducing me figured since I was a gaijin that I would fit in well at a dojo that was used to foreigners. While at the dojo I rummaged through stacks of LPs and listened with the headphones on for hours when others were having lessons. I didn't know who anyone was but I fell in love with Yokoyama Katsuya's stuff. A few months later, I was on vacation stateside and in a bookstore in Columbus, Ohio I found two old LPs of Watazumido. I didn't know anything about him either but listened to those scratchy records over and over till I went back to Japan a month later.


What teachers do you feel have had the biggest impact on your playing and conceptions of the flute?


Taniguchi Yoshinobu for his energy and spiritual approach, Yokoyama Katsuya for his musicianship and Watazumido for his relationship with nature.


When did you move to Japan and were you playing shakuhachi when you moved there?


I moved to Japan in 1980 and began studying in 1982.


Did you have experience any bias in being accepted into the shakuhachi culture in Japan?


I think I felt the "inside/outside" stuff DR. Riley Lee speaks of but not because I was a gaijin. I went to study with Yokoyama Sensei AFTER Taniguchi Sensei stopped playing for a while and I was perceived to be and made to be felt like an "outsider" and a "guest" for quite a while. Yokoyama Sensei knew about me as I had been to his father's house several times through Taniguchi Sensei's introduction. I had played with his father and also his mother way before I met him myself. So by the time I met him he had learned to think of me as Taniguchi Sensei's deshi. Some of that feeling never totally disappeared.


How long did you live in Japan?


18 long years.


What did you do to earn a living while in Japan and studying shakuhachi?


I first was employed in the overseas division of Yazaki Soogyo where I helped them with their foreign correspondence. After that I worked for a hugh publishing company in Osaka. After I married a Japanese national I began helping medical doctors with translations and speech writing.

How have your conceptions of the flute most changed now that you have so much more experience in the culture and the instrument?


My early conceptions were defintiely influenced through my teachers playing and also through many other aspects of Japanese culture. However, since leaving Japan they have been based largely on my experience of playing itself. One builds off of one's playing experiences and must continue to redefine and build from a self referential experience all the time.


When playing flutes do you have a preference for jiari or jinashi flutes?


I have Jinashi, jiari and a "little dab'l doya" jimori flutes. I don't like flutes with a lot of ji in them. Just enough to get the pitch and balance I guess.

What schools of music have you studied and play?


Mainly Yokoyama and Taniguchi style honkyoku. I have studied some Meian and some Tozan but don't consider myself steeped in their traditions at all. I play some of their songs but with my own style.


Do you have one style of music you tend to play more and why?


I love honkyoku the most, especially "nature based" honkyokyu. Those are songs derived from nature energy and not chanting. I like some of those too but not as much. I like more modern songs for koto and shakuhachi than I do traditional ensemble pieces, although there are some of that work for me too.


I developed a relationship with nature and music in my early years of life. I lived the first five years of my life on a farm with my grandparents and mother. I tagged around with my grandfather all day, "helping" him do the work of raising animals and growing food. Every sunday, after a hard week of work, he would pull out his guitar and a small amp and play and sing. He was from Texas and would play Texas blues and country music. He also played a blues harmonica. It was such a wonderful thing to be sitting at his feet and experiencing his music. He wasn't polished as he was self taught but it was 100% pure soul going into it. He had worked on oil rigs, and had been a conductor on the Union Pacific Railroad too. He depended on nobody and it seemed everyone depended on him in some manner. He built everything he needed and raised all the food we ate at home. That spirit of self dependance was strong in his music. Everyone in my family played music, sang or danced and most did a bit of all. My mother played piano and directed choir and my brother played blues guitar too, very well. My other brother was into musicals, which I hated. I'd run out of the house when he stared singing. Anyway, in my family I was the quiet one in the corner who didn't join in. I really liked to sit and absorb it, just listen and feel it though. In college I was introduced to Buddhism and began meditation. I initially went to Japan to learn more about Buddhism but then bumped into shakuhachi. Once I heard the shakuhachi, all of the things I loved in life came together at once. The breath, being able to be so directly involved with sound production, the focus on breath, nature, the quiet spaces, etc.


What school or schools have issued you a Shihan license and which teacher or teachers perspectively?


My licenses came from Taniguchi sensei.


How do you feel your teaching style is different than traditional teachers in Japan and how do you feel it benefits students over other more traditional teaching methods?


I teach a lot on skype so the methods have to be different from Japan, where you do more imitation in a non-verbal setting. I feel that a teacher should help students make “progress” with a combination of sharing insights they have but then also not simply spoon feeding everything. If enough insights are provided, the student will catch on little by little and become aware of the many perspectives that one can view this activity of “doing shakuhachi” from.


How long have you been teaching shakuhachi?


Full time for 14 years now and part time for 3 or 4 years before that.


Is there a more important question or questions you feel I missed in this interview that you would like to share?


There are so many perspectives with shakuhachi that I’m sure we could come up with several more chapters. Thanks for your time and effort in allowing me to be on your blog.


Thanks for your time in answering these questions and for sharing your valuable knowledge!