Mujitsu and Tairaku's Shakuhachi BBQ

Moran from Planet X wrote:

Okay, I really need to know how you vitally engaged members of the Resurrected BBQ feel.


What's better? Jinashi or Jiari? I want something definitive.

Hey Chris, Maybe the conversation has moved on for many members. For me the question is no longer "which is better", but "how do I know it's good instrument."

To quote Ed, "Just sayin"

- Perry

Jinashi

But, yes, depends on what piece on is playing, what lineage, etc.

IMNSHO:

Jinashi is a flute that has bamboo texture, and I play shakuhachi partly (maybe even mostly) to experience that bamboo texture (and I mean inside my head with the breath, not on my fingers or chin).
When I try to play Jiari, it is a flute with...other textures, and, for me, these are textures that
a) do not attract me in the long run (and shakuhachi play is a LTR for sure)
b) seem hell-bent on repurposing this piece of dead grass towards playing musics that would be a lot easier to play on something else.

Sorry if this is redundant, but to me it comes down to
Resonance and texture: if you have primarily musical aspirations, more flutey flutes (i.e. more materials, more uniformity in crafting) might be more appropriate than something that invites a more unique, collaborative connection.

For those of us arriving at shakuhachi from other Western musical pursuits, it is this nature texture (to the sound) that keeps some of us returning for more ... "attempts," shall we say.

Now another question: what is the official term to designate an utaguchi with no insert/bone/horn?

This has recently presented itself as an almost equally important distinction, and my own preferences lie on the side of the choices made at Mujitsu for the Taimu: no inserts, and even no urushi (which one of my Taimu has) but I prefer the ones with "bare blowing edges"

I am so sorry but I really had to point this out.



But your statement does sound right even without the above example.

Hi all,

Jinashi 地無し
Strictly speaking, Jinashi are shakuhachi in which the maker works with each unique bamboo bore via subtraction only, i.e., by carving or sanding away at it. In so doing, they try to achieve their desired level of tuning and tonal balance or resonance. Additionally, makers will often paint the bore of Jinashi with lacquer (traditionally urushi lacquer). Jinashi is the most limited approach to crafting shakuhachi, and as a result, it's often the case that some acoustical issues cannot be harmonized through subtraction alone...

When a Jinashi becomes a Jimori 地盛り
When subtraction can't fix an issue with a Jinashi, addition is what's required. This is done by applying small amounts of paste in just the right spots on the inner bore. Just like with subtractions in Jinashi, these spots of paste in Jimori are carefully worked to achieve the desired results. In the end, additions and subtractions are two sides of the same coin. Lastly, just like Jinashi, Jimori bores can either be left raw or lacquered over, but they're usually lacquered.

Jinuri 地塗り aka 'Jiari' and cast-bores
Conversely, the inner bore of Jinuri/'Jiari' and 'cast-bore' type shakuhachi are completely filled and formed with plaster or glue. The resulting bore shape or 'profile' is not found in bamboo naturally. This entirely human made bore is repeated inside each piece of bamboo, essentially making the bamboo a veneer; a 'shell' or 'container' for the same repeated/fabricated bore (Jinuri bores do vary by maker). Additionally, they often have joints or joining work (see below). Thus, Jinuri, while bamboo on the outside, are not the shape of bamboo on the inside.

Advantages of quality Jinuri vs. quality Jinashi and Jimori

Can be split into two pieces for easy travel if they have the typical center joint

Can be made to play ultimately louder and faster than any relative Jinashi and Jimori

Quality examples are far less rare when compared to Jinashi and Jimori, but mostly for standard lengths/keys only

Definitions

Ji 'paste' - traditionally a paste/plaster made by mixing urushi and jinoko stone powder but now can be anything that sticks to bamboo, e.g., glue (not to be confused with lacquer which is painted onto the inner bore and is usually brown, black, or red in color)

Ji-nashi 'paste-none' - strict definition is no paste whatsoever. People both inside and outside of Japan either adhere to this strict definition or they do not

Ji-mori 'paste a portion' - portions of the bore have Ji, usually very small areas

Ji-nuri 'pasted/plastered' aka jiari and cast-bores - the whole bore is covered in paste/glue and shaped or casted into a predetermined, human made shape which is not found in bamboo naturally

I've got more info like this on my website flutedojo.com, especially on my free shakuhachi guides page.

For example, you can read more on this topic and see a video and pictures on my website on my page Jinashi and Jimori vs. 'Jiari' Jinuri and cast-bore Shakuhachi.

You can also find Jinashi and Jimori shakuhachi for sale on my website.

I'm also always happy to teach these things in live shakuhachi lessons as well.

RO on friends, J

Last edited by Jon Kypros (2024-03-30 18:02:02)