Phoenix Crying - Yearning for the Bell Volume 6

"Volume 6 of the 7 volume "Yearning for the Bell" series."

Riley Kōho Lee
Tall Poppies - TP167
2004

Track	Title	Kanji	Length	Artist
1	Chôshi (Chikuho Ryu)	調子	03'25	Shakuhachi: Riley Kōho Lee
	A version of this piece was always the first honkyoku that Sakai Chikuho taught to his students. It is one of many 'main' or 'original' versions among the many short pieces that act as preludes or warm-ups. The 'Choshi' pieces are performed in order to re-establish the relationship between the player and the shakuhachi that is most conducive to the state of mind necessary in meditation.
1	Chôshi (Chikuho Ryu)	調子	03'25	Shakuhachi: Riley Kōho Lee
	A version of this piece was always the first honkyoku that Sakai Chikuho taught to his students. It is one of many 'main' or 'original' versions among the many short pieces that act as preludes or warm-ups. The 'Choshi' pieces are performed in order to re-establish the relationship between the player and the shakuhachi that is most conducive to the state of mind necessary in meditation.
1	Chôshi (Chikuho Ryu)	調子	03'25	Shakuhachi: Riley Kōho Lee
	A version of this piece was always the first honkyoku that Sakai Chikuho taught to his students. It is one of many 'main' or 'original' versions among the many short pieces that act as preludes or warm-ups. The 'Choshi' pieces are performed in order to re-establish the relationship between the player and the shakuhachi that is most conducive to the state of mind necessary in meditation.
1	Chôshi (Chikuho Ryu)	調子	03'25	Shakuhachi: Riley Kōho Lee
	A version of this piece was always the first honkyoku that Sakai Chikuho taught to his students. It is one of many 'main' or 'original' versions among the many short pieces that act as preludes or warm-ups. The 'Choshi' pieces are performed in order to re-establish the relationship between the player and the shakuhachi that is most conducive to the state of mind necessary in meditation.
2	Tsuru no Sugomori (Chikuho Ryu)	鶴の巣籠	12'38	Shakuhachi: Riley Kōho Lee
	"Nesting of the Cranes" is of one of the most popular pieces in the shakuhachi repertoire. Sakai Chikuho I, the founder of the Chikuho lineage of shakuhachi playing and the father of Riley's first teacher, composed this version in 1916. The piece incorporates melodic lines, embellishments, and other techniques shared by other "Nesting of the Crane" pieces, including those performed on other instruments such as the shamisen and the kokyu (traditional stringed instruments of Japan). It is unique among the "Crane" honkyoku in that it is a duet for much of the piece.
2	Tsuru no Sugomori (Chikuho Ryu)	鶴の巣籠	12'38	Shakuhachi: Riley Kōho Lee
	"Nesting of the Cranes" is of one of the most popular pieces in the shakuhachi repertoire. Sakai Chikuho I, the founder of the Chikuho lineage of shakuhachi playing and the father of Riley's first teacher, composed this version in 1916. The piece incorporates melodic lines, embellishments, and other techniques shared by other "Nesting of the Crane" pieces, including those performed on other instruments such as the shamisen and the kokyu (traditional stringed instruments of Japan). It is unique among the "Crane" honkyoku in that it is a duet for much of the piece.
2	Tsuru no Sugomori (Chikuho Ryu)	鶴の巣籠	12'38	Shakuhachi: Riley Kōho Lee
	"Nesting of the Cranes" is of one of the most popular pieces in the shakuhachi repertoire. Sakai Chikuho I, the founder of the Chikuho lineage of shakuhachi playing and the father of Riley's first teacher, composed this version in 1916. The piece incorporates melodic lines, embellishments, and other techniques shared by other "Nesting of the Crane" pieces, including those performed on other instruments such as the shamisen and the kokyu (traditional stringed instruments of Japan). It is unique among the "Crane" honkyoku in that it is a duet for much of the piece.
2	Tsuru no Sugomori (Chikuho Ryu)	鶴の巣籠	12'38	Shakuhachi: Riley Kōho Lee
	"Nesting of the Cranes" is of one of the most popular pieces in the shakuhachi repertoire. Sakai Chikuho I, the founder of the Chikuho lineage of shakuhachi playing and the father of Riley's first teacher, composed this version in 1916. The piece incorporates melodic lines, embellishments, and other techniques shared by other "Nesting of the Crane" pieces, including those performed on other instruments such as the shamisen and the kokyu (traditional stringed instruments of Japan). It is unique among the "Crane" honkyoku in that it is a duet for much of the piece.
3	Reibo (Futaiken)	霊慕 (布袋軒)	09'11	Shakuhachi: Riley Kōho Lee
	The word Reibo (Yearning for the Bell), may be found in more titles of pieces in the shakuhachi honkyoku repertoire than any other word. This is why it has been possible to record this series of seven CDs of honkyoku, all including one or more Reibo pieces, and why the series is 'Yearning for the Bell'. It is as if the idea behind the word is so important that it is used in titles of honkyoku as often as possible. The legendary 'father' of the honkyoku tradition, Fuke (ca. 9th C. China), did not play shakuhachi, but rang a rei (hand-bell) instead. To his disciples, Fuke's bell has come to symbolise enlightenment. "Yearning for the Bell" can therefore be defined as 'yearning for enlightenment'. Futaiken reibo is a version, transmitted within the Chikuho lineage, of a group of closely related Reibo pieces originating in the northern district of Aomori. This piece was transmitted by komus6 ('priests of nothingness') based at the small temple (ken) called Futai, as distinct from other pieces within this group whose transmission were centered around other nearby temples or ken.
3	Reibo (Futaiken)	霊慕 (布袋軒)	09'11	Shakuhachi: Riley Kōho Lee
	The word Reibo (Yearning for the Bell), may be found in more titles of pieces in the shakuhachi honkyoku repertoire than any other word. This is why it has been possible to record this series of seven CDs of honkyoku, all including one or more Reibo pieces, and why the series is 'Yearning for the Bell'. It is as if the idea behind the word is so important that it is used in titles of honkyoku as often as possible. The legendary 'father' of the honkyoku tradition, Fuke (ca. 9th C. China), did not play shakuhachi, but rang a rei (hand-bell) instead. To his disciples, Fuke's bell has come to symbolise enlightenment. "Yearning for the Bell" can therefore be defined as 'yearning for enlightenment'. Futaiken reibo is a version, transmitted within the Chikuho lineage, of a group of closely related Reibo pieces originating in the northern district of Aomori. This piece was transmitted by komus6 ('priests of nothingness') based at the small temple (ken) called Futai, as distinct from other pieces within this group whose transmission were centered around other nearby temples or ken.
3	Reibo (Futaiken)	霊慕 (布袋軒)	09'11	Shakuhachi: Riley Kōho Lee
	The word Reibo (Yearning for the Bell), may be found in more titles of pieces in the shakuhachi honkyoku repertoire than any other word. This is why it has been possible to record this series of seven CDs of honkyoku, all including one or more Reibo pieces, and why the series is 'Yearning for the Bell'. It is as if the idea behind the word is so important that it is used in titles of honkyoku as often as possible. The legendary 'father' of the honkyoku tradition, Fuke (ca. 9th C. China), did not play shakuhachi, but rang a rei (hand-bell) instead. To his disciples, Fuke's bell has come to symbolise enlightenment. "Yearning for the Bell" can therefore be defined as 'yearning for enlightenment'. Futaiken reibo is a version, transmitted within the Chikuho lineage, of a group of closely related Reibo pieces originating in the northern district of Aomori. This piece was transmitted by komus6 ('priests of nothingness') based at the small temple (ken) called Futai, as distinct from other pieces within this group whose transmission were centered around other nearby temples or ken.
3	Reibo (Futaiken)	霊慕 (布袋軒)	09'11	Shakuhachi: Riley Kōho Lee
	The word Reibo (Yearning for the Bell), may be found in more titles of pieces in the shakuhachi honkyoku repertoire than any other word. This is why it has been possible to record this series of seven CDs of honkyoku, all including one or more Reibo pieces, and why the series is 'Yearning for the Bell'. It is as if the idea behind the word is so important that it is used in titles of honkyoku as often as possible. The legendary 'father' of the honkyoku tradition, Fuke (ca. 9th C. China), did not play shakuhachi, but rang a rei (hand-bell) instead. To his disciples, Fuke's bell has come to symbolise enlightenment. "Yearning for the Bell" can therefore be defined as 'yearning for enlightenment'. Futaiken reibo is a version, transmitted within the Chikuho lineage, of a group of closely related Reibo pieces originating in the northern district of Aomori. This piece was transmitted by komus6 ('priests of nothingness') based at the small temple (ken) called Futai, as distinct from other pieces within this group whose transmission were centered around other nearby temples or ken.
4	San'ya (Echigo)	三谷 (越後)	12'42	Shakuhachi: Riley Kōho Lee
	As with so many other honkyoku, there are numerous versions of San'ya. There are variations in the titles of this piece as well, for example, "Mountain Valley" (also pronounced 'san'ya'). The 'Three Valleys' may allude to a semi-mythical abode of enlightened beings, or to the 'three jewels' of Buddhism, the Buddha, the Teachings, and the Community. This Chikuho lineage version of 'Three Valleys' was originally transmitted from the Echigo district of Japan, near present day Niigata.
4	San'ya (Echigo)	三谷 (越後)	12'42	Shakuhachi: Riley Kōho Lee
	As with so many other honkyoku, there are numerous versions of San'ya. There are variations in the titles of this piece as well, for example, "Mountain Valley" (also pronounced 'san'ya'). The 'Three Valleys' may allude to a semi-mythical abode of enlightened beings, or to the 'three jewels' of Buddhism, the Buddha, the Teachings, and the Community. This Chikuho lineage version of 'Three Valleys' was originally transmitted from the Echigo district of Japan, near present day Niigata.
4	San'ya (Echigo)	三谷 (越後)	12'42	Shakuhachi: Riley Kōho Lee
	As with so many other honkyoku, there are numerous versions of San'ya. There are variations in the titles of this piece as well, for example, "Mountain Valley" (also pronounced 'san'ya'). The 'Three Valleys' may allude to a semi-mythical abode of enlightened beings, or to the 'three jewels' of Buddhism, the Buddha, the Teachings, and the Community. This Chikuho lineage version of 'Three Valleys' was originally transmitted from the Echigo district of Japan, near present day Niigata.
4	San'ya (Echigo)	三谷 (越後)	12'42	Shakuhachi: Riley Kōho Lee
	As with so many other honkyoku, there are numerous versions of San'ya. There are variations in the titles of this piece as well, for example, "Mountain Valley" (also pronounced 'san'ya'). The 'Three Valleys' may allude to a semi-mythical abode of enlightened beings, or to the 'three jewels' of Buddhism, the Buddha, the Teachings, and the Community. This Chikuho lineage version of 'Three Valleys' was originally transmitted from the Echigo district of Japan, near present day Niigata.
5	Sokaku	巣鶴	09'54	Shakuhachi: Riley Kōho Lee
	Another member of the family of 'Crane' honkyoku, this is considered the oldest, and is closely related to the piece Suzuru from the Yokoyama lineage (see TP151 Deep Night, vol. 5 of the Yearning for the Bell series). The crane is revered in Japan for its beauty and its mating and nesting habits. The Japanese cranes mate for life and are exceptionally attentive as parents. The piece alludes to the intense and mixed feelings (fear, joy, pride, exuberance, sadness, and above all excitement) felt by both parent cranes and the adolescent crane when the latter is just about to make its first attempt to fly!
5	Sokaku	巣鶴	09'54	Shakuhachi: Riley Kōho Lee
	Another member of the family of 'Crane' honkyoku, this is considered the oldest, and is closely related to the piece Suzuru from the Yokoyama lineage (see TP151 Deep Night, vol. 5 of the Yearning for the Bell series). The crane is revered in Japan for its beauty and its mating and nesting habits. The Japanese cranes mate for life and are exceptionally attentive as parents. The piece alludes to the intense and mixed feelings (fear, joy, pride, exuberance, sadness, and above all excitement) felt by both parent cranes and the adolescent crane when the latter is just about to make its first attempt to fly!
5	Sokaku	巣鶴	09'54	Shakuhachi: Riley Kōho Lee
	Another member of the family of 'Crane' honkyoku, this is considered the oldest, and is closely related to the piece Suzuru from the Yokoyama lineage (see TP151 Deep Night, vol. 5 of the Yearning for the Bell series). The crane is revered in Japan for its beauty and its mating and nesting habits. The Japanese cranes mate for life and are exceptionally attentive as parents. The piece alludes to the intense and mixed feelings (fear, joy, pride, exuberance, sadness, and above all excitement) felt by both parent cranes and the adolescent crane when the latter is just about to make its first attempt to fly!
5	Sokaku	巣鶴	09'54	Shakuhachi: Riley Kōho Lee
	Another member of the family of 'Crane' honkyoku, this is considered the oldest, and is closely related to the piece Suzuru from the Yokoyama lineage (see TP151 Deep Night, vol. 5 of the Yearning for the Bell series). The crane is revered in Japan for its beauty and its mating and nesting habits. The Japanese cranes mate for life and are exceptionally attentive as parents. The piece alludes to the intense and mixed feelings (fear, joy, pride, exuberance, sadness, and above all excitement) felt by both parent cranes and the adolescent crane when the latter is just about to make its first attempt to fly!
6	Hôkyô Kokû	鳳叫虚空	08'37	Shakuhachi: Riley Kōho Lee
	Phoenix Crying in the Empty Sky Though the Phoenix is very symbolic in Japan, the important word in this case is 'koku'. Empty Sky is its usual translation. This fails, however, to convey the meaning of the original Chinese characters, which pertain to the Absolute, and which by definition cannot be fathomed by the rational mind. The second character of the word, 'ku' is easy; it means 'sky' or 'air'. The first character 'ko' is not so easy. It refers to a concept that is in the realm of the Absolute and therefore cannot be explained or understood with words. Words, and indeed our thoughts, are of the world of the relative. For example, the word 'empty' has no meaning apart from the word 'full’. The concept of 'full' is implicit in our understanding of the word 'empty'. The word 'ko', on the other hand, does not mean merely 'empty'; because it is not the opposite of 'full'; it is 'that' which has nothing to do with 'fullness'. This "Phoenix" version of Koku is noted for it's melodic feel and the occasional use of unusual modes.
6	Hôkyô Kokû	鳳叫虚空	08'37	Shakuhachi: Riley Kōho Lee
	Phoenix Crying in the Empty Sky Though the Phoenix is very symbolic in Japan, the important word in this case is 'koku'. Empty Sky is its usual translation. This fails, however, to convey the meaning of the original Chinese characters, which pertain to the Absolute, and which by definition cannot be fathomed by the rational mind. The second character of the word, 'ku' is easy; it means 'sky' or 'air'. The first character 'ko' is not so easy. It refers to a concept that is in the realm of the Absolute and therefore cannot be explained or understood with words. Words, and indeed our thoughts, are of the world of the relative. For example, the word 'empty' has no meaning apart from the word 'full’. The concept of 'full' is implicit in our understanding of the word 'empty'. The word 'ko', on the other hand, does not mean merely 'empty'; because it is not the opposite of 'full'; it is 'that' which has nothing to do with 'fullness'. This "Phoenix" version of Koku is noted for it's melodic feel and the occasional use of unusual modes.
6	Hôkyô Kokû	鳳叫虚空	08'37	Shakuhachi: Riley Kōho Lee
	Phoenix Crying in the Empty Sky Though the Phoenix is very symbolic in Japan, the important word in this case is 'koku'. Empty Sky is its usual translation. This fails, however, to convey the meaning of the original Chinese characters, which pertain to the Absolute, and which by definition cannot be fathomed by the rational mind. The second character of the word, 'ku' is easy; it means 'sky' or 'air'. The first character 'ko' is not so easy. It refers to a concept that is in the realm of the Absolute and therefore cannot be explained or understood with words. Words, and indeed our thoughts, are of the world of the relative. For example, the word 'empty' has no meaning apart from the word 'full’. The concept of 'full' is implicit in our understanding of the word 'empty'. The word 'ko', on the other hand, does not mean merely 'empty'; because it is not the opposite of 'full'; it is 'that' which has nothing to do with 'fullness'. This "Phoenix" version of Koku is noted for it's melodic feel and the occasional use of unusual modes.
6	Hôkyô Kokû	鳳叫虚空	08'37	Shakuhachi: Riley Kōho Lee
	Phoenix Crying in the Empty Sky Though the Phoenix is very symbolic in Japan, the important word in this case is 'koku'. Empty Sky is its usual translation. This fails, however, to convey the meaning of the original Chinese characters, which pertain to the Absolute, and which by definition cannot be fathomed by the rational mind. The second character of the word, 'ku' is easy; it means 'sky' or 'air'. The first character 'ko' is not so easy. It refers to a concept that is in the realm of the Absolute and therefore cannot be explained or understood with words. Words, and indeed our thoughts, are of the world of the relative. For example, the word 'empty' has no meaning apart from the word 'full’. The concept of 'full' is implicit in our understanding of the word 'empty'. The word 'ko', on the other hand, does not mean merely 'empty'; because it is not the opposite of 'full'; it is 'that' which has nothing to do with 'fullness'. This "Phoenix" version of Koku is noted for it's melodic feel and the occasional use of unusual modes.