Meditation #31

June 13, 2010

“Think? How the hell are you gonna think and hit at the same time?”—Yogi Berra.

A shakuhachi improvisation.   Meditation #31



May 30, 2010

“Suzuki Roshi said, ‘If I die, it’s all right.  If I should live, it’s all right. Sun-face Buddha, Moon-face Buddha.’  Why do I always fall for that old line?”—Philip Whalen, “Walking beside the Kamogawa, Remembering Nasen and Fudo and Gary’s Poem.”


A piece in the nezasaha tradition.

Meditation #28

May 16, 2010

“When they [classical musicians] think of improvisation they think of connecting one written thing to another written thing.  When I think of improvisation I think of going from zero to zero or to wherever it goes but I’m not connecting one thing to another . . .”—Keith Jarrett, The Art of Improvisation.

A shakuhachi improvisation.   Meditation #28

Meditation #26

April 11, 2010

“The melody of inhaling and exhaling…Markandeya is listening to this song.  He is listening to the breathing of the Highest Being”—Heinrich Zimmer, Myths and Symbols in Indian Art and Civilization.
A shakuhachi improvisation.  Meditation #26

Meditation #24

March 7, 2010

“If someone is not humane in spite of being a man, what has he to do with music?”—Confucius, The Analects (3.3).  A shakuhachi improvisation.
Meditation #24

Meditation #21

February 7, 2010

“…What I came to say was,
teach the children about the cycles.
The life cycles.  All the other cycles.
That’s what it’s all about, and it’s all forgot.”
—Gary Snyder, “For/From Lew.”

Meditation #21

Meditation #18

January 17, 2010

“Well, Al, I don’t know.  I guess I would have to say it would be because … if I didn’t, who would I be when I listened to a piece of music?”—Frank Serpico, when Al Pacino asked him why.

A shakuhachi improvisation.  Meditations #18

“Sanya Sugagaki”

January 10, 2010

“To achieve personal peace in active joy in this century [twentieth] perhaps more than any other has meant dropping out of the current power structure.  Since the Second World War for many men this has meant finding a viable alternative to the dragging decay of Christian capitalist democracy and the delusions of extreme leftist reform associated with the Depression and the Thirties.  In the Forties and Fifties this alternative consisted in forms of ideological refusal to held captive by the history of the West”—Eric Mottram, Introduction to The Scripture of the Golden Eternity by Jack Kerouac (1970).

Sanya Sugagaki