Sokkan 息観 (on 3.2)
Koden Sugomori 古伝巣籠 (on 1.6)
Reibo 霊慕 (on 2.7)
Sagariha 下り葉 (on 2.1)
Sanya (Mountain Valley) 山谷 (on 2.9)
Tsuru no Sugomori 鶴の巣籠り (on1.8)
Honkyoku recorded at Chichibu Muse Park Music Hall (24 April, 2009).
This recording is remarkable not least for two reasons: firstly, it seems to have been recorded on a single day, all pieces with their distinctive character within the honkyoku genre, and; each piece is played on a different shakuhachi, ranging from Sokkan on 3.2 to Koden Sugomori on 1.6, exhibiting Sensei's versatility and consistency - this is a kind of 'marathon' in shakuhachi preparedness. Despite the fact that Kakizakai Sensei likes to say that there is no differentiation or difficulty for him moving from one instrument to another, the breath required for long phrases on the 2.7, 2.9 and 3.2 (!) is utterly masterful. Listening to the whole CD gives a good picture of Kakizakai Sensei's aesthetic - long smooth phrases, jiari clarity of tone (rather than breathiness or especially 'bamboo'-y in flavour), very lyrical after the influence of his teacher, Yokoyama Katsuya Sensei, but at the same time quite different in the approach to ornamentation and vibrato (i.e. none). Above all, the sincerity and simplicity comes across belying the powerful technique that delivers via phrasing and minimalist elegance alone. There are no 'tricks', embellishments or indulgences. In this way, it could be construed as very Zen, very bare and humble. Reibo and Sanya sound to me the most inwardly calm.
Like so many of his students surely, I am very grateful (and in awe) that Sensei has finally compiled this record of his transmission, continuing the lineage of his great teacher, Yokoyama Sensei and the Kenshukan way. At the same time, I hope he will also record these pieces and some of those on Volume 1 again in a while: one of the attributes that is so interesting in listening to recordings of Yokoyama Katsuya or Watazumi-do, because there are quite many versions of different pieces, is to observe the ways in which the honkyoku are transformed in interpretation, spirit or delivery over a long period of time in the care of the player and sometimes also due to the choice of shakuhachi length or performance context. This is a helpful reminder that there is no 'right' way and that the notated and aural records are not fixed. This recording set seems very representative of Kakizakai Sensei at this particular time in his life. His email alias, "longphrase" could not be more appropriate!
