Kobayashi Jido Shizan 小林 紫山 36th Kanshu of Meian-ji Temple, Taizan Ha School. His teacher was Higuchi Taizan. 

Please note The term Sugagaki originally meant to play string instruments without accompanying voice. But in Shakuhachi it simply means those pieces which come from compositions for string instruments; for example, "Akita Sugagaki' and 'San-ya Sugagaki'. This suggests that the Myoan Taizan Ha repertoire intersects, at certain points, with Kinko Ryu, since it derives from string instrument music found in secular ensemble music which became a parallel sub-genre within the Kinko Ryu repertoire, and now exists as a hybrid-honkyoku-sankyoku, and is included in the honkyoku repertoire of Myoan Taizan Ha. (It does _not_ necessarily mean that other Taizan Ha honkyoku of the same name as Kinko honkyoku are derived directly from the Kinko Ryu, as many pieces in both repertoires had their origins in the ancient Fuké temples of Japan.)

"The second most important figure in this post-Edo Meian-ha history, after Taizan, is Kobayashi Jido Shizan. He "enhanced" the honkyoku that Taizan had collected, possibly by organizing them into the teaching regimen of 32 honkyoku, with its levels of achievement and ability, similar to the same system found in the Kinko-ryu. He also notated and published them in the form that is still in use today. Shizan was the 36th Kanshu of Meianji from 1914." — Taken from email correspondence with Norman Stanfield, Ph.D. (ABD) as presented on Komuso.com

My name is Elizabeth Star Dylan Moran (aka Liz Moran, "Liz Star-Dylan", and aka "Chris Moran" in a past life; pronouns are she/her). I am the curator of this soundcloud/myoan page. If you would like to see more rare shakuhachi recordings, perhaps you could help support this channel so that I may maintain this upgrade to a Pro Soundcloud account and be able to take the time needed to digitize and upload the hundreds of very rare, old shakuhachi recordings that I have, onto this site. This first year of our expanded format is sponsored by a single generous donor, however subsequent subscription renewals need to be crowdsourced. Please consider a small donation towards continuing this site. I should note, that with this Pro upgrade, I am finding two other admins who will inheirate this site from me, should I disappear onto Cold Mountain, to write poems on rocks and bamboo for the rest of my life. So your donations will always go to the continuation of this site. Thank you, — Elizabeth Star

Kobayashi Jido Shizan

Akita Sugagaki - Shizan

Tamuke 手向 Watazumi Doso Roshi 海童 道祖 老師

From his LP, Watazumi: His Practical Philosophy vol. I 1974.

Watazumi 無装飾無調音

Tamuke - Watazumi

Azuma Jishi 獅子 Watazumi Doso Roshi 海童 道祖 老師

Azuma Jishi - Watazumi

Takeuchi Shikō  竹内 史光 studied with 遠藤光州 (Endō Kōshū) in Gifu City, then became the uchideshi of Kawase Junsuke II, iemoto of Chikuyusha. Began teaching in 1935. Also studied (and recorded) Myoan (teacher Tanikita Muchiku) and Kimpū-ryū repertoire.

So, really well rounded.  And went from Kinko to Taizan Ha and plays pure Taizan Ha style. Very strong recordings, Although you have many Taizan Ha Myoan players starting in Kinko, they transition to this very traditional, unassuming style. Higuchi Taizan did the same. Takeuchi Shikō  竹内 史光 was Tanikita's direct student. So Takeuchi Shikō  竹内 史光 recordings might be a good test of what Tanikita sounded like if recorded well.

I may, or may not have some of his Nezasa Ha recordings. If anyone else does, please let me know, and I will post them.

Takeuchi Chiku was also known ss 竹内昌隆(Takeuchi Masataka).

Takeuchi Chiku Koten Shakuhachi Gaku Zen Shu

Taki Ochi - Takeuchi Shiko

One of the loveliest recordings of Koku, very spare, lots of space and very easy to follow. Tokuyama now has a website. https://e.tokuyama-shakuhachi.com I am trying to communicate with him about a number of things. He has 4 of his best known albums on streaming. This is a recording from his Hoshinji Temple recordings.

Tokuyama has studied with several senior shakuhachi masters, but aligns himself with no particular school. His recordings are entirely from the ancient traditional Japanese shakuhachi masterworks collection, the Koten honkyoku. He studied shakuhachi under Uyeda Kadō, head of the Uyeda Ryu. He received his master status in 1977 after winning the school's National Gold Medal award for three consecutive years.

In Tokyo, sensei Tokuyama leads a school for the study of traditional shakuhachi, the Honkyoku Study Group. Nowadays in Japan there are few people keeping this ancient musical tradition alive. 

Tokuyama received a degree in shakuhachi performance from Tokyo Fine Arts University, a course of study he completed after already having received a degree from Keio University in philosophy and art. After graduation, Tokuyama went to Europe and India, where he studied and practiced the music and instruments of those regions. He has succeeded in learning to play dozens of instruments. 

In April 1986, Tokuyama made his first visit to America, where he gave concerts and masters classes. He visited San Francisco, Marin, Berkeley, Sacramento, Willits, Garberville and Chico.

Live At Hoshiji Temple

Choshi-Koku_Takashi-Tokuyama-

Takashi Tokuyama has studied with several senior shakuhachi masters, but aligns himself with no particular school. His recordings are entirely from the ancient traditional Japanese shakuhachi masterworks collection, the Koten honkyoku. He studied shakuhachi under Uyeda Kadō, head of the Uyeda Ryu. He received his master status in 1977 after winning the school's National Gold Medal award for three consecutive years.

Nezasa Ha Shirabe / Sagariha - Tokuyama

Miyagawa Nyozan, a 35th generation komuso from the Itcho-Ken temple, and a member of the Myoan Taizan Ha.

Support soundcloud.com/myoan so that I may renew the $144 Pro license for 2022. Overage will go towards Pro license for _myoan_ for 2023, and so on. Thank you! — elizabeth s.d. moran

Hachigaeshi - Nyozan

Miyagawa Nyozan, a 35th generation komuso from the Itcho-Ken temple, and a member of the Myoan Taizan Ha. He was from Kyushu.

Support soundcloud.com/myoan so that I may renew the $144 Pro license for 2022. Overage will go towards Pro license for _myoan_ for 2023, and so on. Thank you! — elizabeth s.d. moran

Miyagawa Nyozan

Kyushu Reibo - Nyozan

Yoshimura volume 1

Yoshiya -Tanikita

Yoshiya no Kyoku played by Yoshimura Fuan

Myoan Sanjunana Sei Tanikita Muchiku Shu - 1

Yoshiya no Kyoku - Yoshimura

Oshu Nagashi - Tanikita Muchiku

Yoshimura soshin Fuan 芳村普庵·宗心, (1904 - 1988) 40th Kansu of Meian-ji temple, Kyoto.

Oshû Nagashi - Yoshimura

Koku part 2 by Miyagawa Nyozan

Miyagawa Nyozan was a 35th generation Meian [myoan] komuso from the Itcho-ken temple. He is best known as the composer of the revered honkyoku, Ajikan .

Koku part 2 - Miyagawa Nyozan

Koku part 1, preceded appropriately by Choshi, by Miyagawa Nyozan

Miyagawa Nyozan was a 35th generation Meian [myoan] komuso from the Itcho-ken temple. He is best known as the composer of the revered honkyoku, Ajikan . 

photo caption: "Miyagawa Nyozan offering Ajikan on a 2.1' at the North Gate of Hebei Zhengding in China where Fuke Zenji, the founder of the Fuke sect is known to have passed away. This photo is dated October 21, 1921."

Choshi and Koku part 1 - Miyagawa Nyozan

"Goto Seizo was a living treasure in Aomori prefecture where he lived and was a teacher of Nezasa-ha Kimpu-ryu to many students." — komuso.com

Tsugaru no Take no Oto Nezasa Ha Kimpu Ryu Shakuhachi

Matsukaze (Nezasa Ha)- Goto Seizan

Nagashi Reibo (Nezasa Ha)- Goto Seizan

Nesting Cranes- Kobayashi Jido Shizan • The second most important figure in this post-Edo Meian-ha history, after Taizan, is Kobayashi Jido Shizan. He "enhanced" the honkyoku that Taizan had collected, possibly by organizing them into the teaching regimen of 32 honkyoku, with its levels of achievement and ability, similar to the same system found in the Kinko-ryu. He also notated and published them in the form that is still in use today. Shizan was the 36th Kansu of Meianji from 1914.  — Taken from email correspondence with Norman Stanfield, Ph.D.

Nesting Cranes- Kobayashi Jido Shizan

An historic recording of Koku no Kyoku by the second head of Taizan Ha, Kobayashi Jido Shizan, 小林 紫山 36th Kansu of Myoan-ji Temple, Taizan Ha School. His teacher was Higuchi Taizan.

Koku - Kobayashi Jido Shizan

Takeuchi Shikō  竹内 史光 Student of Tanikita Muchiku

oshu nagashi - Takeuchi Shikō  竹内 史光

Takeuchi Shikō 竹内 史光 Student of Tanikita Muchiku

Takeuchi Shiko 竹内 史光 - Sanya

Monden Tekiku 門田笛空  Born in Osaka November 4, 1926.
Studied under Sakurai Muteki, a student of Tanikita Muchiku.
10 years as a Kinko-ryū player, 25+ years playing Myoan style.
Made shakuhachi for more than 15 years.
Began teaching in 1955.
A founding member of the Society for the Study of Classical Shakuhachi "Koten-shakuhachi-kenkyū-kai" 

"Tanikita Muchiku proposed to Sakurai Muteki the idea to form a Meian-Shakuhachi group in Osaka (Muchiku actually presented a wooden name plate to the group in his calligraphy.)   Hence, the "Koten-shakuhachi-kenkyū-kai" (Society for the Study of Classical Shakuhachi) was born.
"Monden Tekiku was the second head of the group and retired about 5 years ago (after his 80th birthday). The present leader and Monden Tekiku's successor is Maeda Tekifū. The aim of the group is the study and transmission of Meian-Shakuhachi music using long jinashi-shakuhachi."

Koku  虚空 - Monden Tekkiku 門田笛空

Koku 虚空 - Monden Tekiku

Choshi played by Yoshimura soshin Fuan 芳村普庵·宗心, (1904 - 1988) 40th Kanshu of Meian-ji temple, Kyoto.

Choshi • Yoshimura

Fukumoto Kansai Kyoan 福本虚庵 1927 - 1976, 39th Kanshu of Meian-ji

Fukumoto Kansai Kyoan

Taki Ochi • Fukumoto Kansai Kyoan

Minamoto Unkai 源雲界 1889 - 1937

This is a version of Ajikan which has been attributed to Miyagawa Nyozan (1868 - 1946). This sounds like a 1920s, pre-electric microphone 78rpm recording. Unkai would have been in his thirties, if I am correct. Nyozan recorded this piece in the 1930s. 
— elizabeth moran

"Minamoto Unkai was considered to be a rather strange fellow with a particularly strange way of writing multicolored notation. He claimed to have learned all the Shinpo-ryu pieces, though it is said that in reality he learned at most 10 pieces, as well as various pieces of other lineages." — from komuso.com, unknown author

Teacher:
Katsuura Shōzan

Students: 
 Sakai Chikuho I 1892/10/15 - 1985
 Sano Tōkai 
 Yamaue Getsuzan b. November 15, 1908

— from komuso.com

Ajikan • Minamoto Unkai

Tanikita Muchiku was the 37th Kanshu of Myoan-ji Temple, Kyoto

Koku is the oak tree where all the Taizan Ha repertoire hang from.

Myoan Sanjunana Sei Tanikita Muchiku Shu - 3

Kokû • Tanikita Muchiku

Iwata Ritsuen aka Iwata Seien is the sixth lineage holder of the Seien Ryu, whose eleven pieces were incorporated into the Taizan Ha repertoire. Seien Ryu is noted for it's complete unadornment, not only no tremolo (yuri) but also no furi. There are few, or no, searched performances of a _reliable_ collection of Seien Honkyoku ... To My Knowledge. The school's lineage took a jog or two and was recovered by the man known as the 6th Iemoto of the almost lost school. It is told that Taizan Ha master Tanikita Muchiku said that Seien Ryu music was "not zen enough" and that Higuchi Taizan's versions of those incorporated pieces were, basically, more correct! Regardless, Iwata learned his Taizan Ha directly from Tanikita and recorded the Taizan Ha Myoan repertiore on a published commercial album. Iwata Seien's performances are very pure and faithful to Tanikita's versions. Iwata has never formally released recordings of playing the 11 Seien Ryu pieces.

Iwata Ritsuen (Seien-ryu, Myouan Taizan-ha)

Monbiraki • Iwata Seien

Originally a popular dance piece for small stage, Azuma Jishi is known in more than one school of shakuhachi, most modernly associated with Chikushinkai/Yokuyama musicians, using the insempo scale. This piece is called Azuma no Kyoku as played by the Myoan Taizan Ha, here performed by the 40th kansu of Myoan-ji temple in Kyoto, Yoshimura Fuan Shoshin (1904-1988).

Azuma no Kyoku • Yoshimura

This piece is from Takashi Tokuyama's most recent live album, Live At Hosshinji Temple. This is the only cut from this album which will be shared here on Myoan Soundcloud. He is playing the legendary Murasaki tune on hitiyogiri, the same type of pre-shakuhachi vertical flute, on which it is said, the 15th century Zen monk-poet Ikkyu composed this tune. Takashi Tokuyama is one of the great modern collectors of shakuhachi music, particularly honkyoku. He is the leader of the Tokuyama Honkyoku Kai in Tokyo. 

With Barry Nyosui Weiss, Tokuyama wrote the book TAKE-NO-MICHI: THE PATH OF BAMBOO: A Beginner's Guide to Learning Shakuhachi Honkyoku (http://shakuhachi.com/PG-Tokuyama.html). He has published an impressive collection of eclectic honkyoku and gaikyoku entitled the Takashi Tokuyama 
Shakuhachi Honkyoku Sheet Music, available at shakuhachi.com. 

The notation is a modified version of the Ro-Tsu-Re Myoan Taizan Ha notation like that published by the Myoan-ji temple in Kyoto (not "Kinko" notation as Monty's site lists). 

Tokuyama's own website is https://e.tokuyama-shakuhachi.com. He maintains streaming versions of his first 4 albums recorded (I believe)on a 1.8 jinashi tuned to D so that students with D-tuned flutes could learn directly from the recordings, yet with him still playing a traditional jinashi instrument.
https://e.tokuyama-shakuhachi.com/category/streaming/

myoan

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