01 Nov Matching the Masters: Chikushin’s Standard of Excellence in Shakuhachi Making
Chikushin Shakuhachi upholds the finest traditions of Japanese shakuhachi craftsmanship, blending technical mastery, cultural authenticity, and spiritual depth.
By Shawn Schroeder
The shakuhachi is more than a musical instrument; it is a vessel of tradition, meditation, and artistry. At Chikushin Shakuhachi, every flute is made in reverence to the lineage of masters who have preserved its form for centuries. Through decades of study with renowned teachers and close collaboration with Japan’s most respected craftsmen, I have dedicated my life to ensuring that each instrument embodies both the precision of fine workmanship and the living spirit of bamboo.
Lineage of Masters and Mentorship
The foundation of my work rests upon the wisdom and generosity of my teachers. I began my training in 2005 under Bill Shozan Schultz, whose guidance shaped my early years of study. In 2008, I began lessons with Kaoru Kakizakai sensei, a direct student of Yokoyama Katsuya. Since 2016, I have continued to train regularly with him in Japan and abroad. My studies have also been enriched by the guidance of KSK masters Kazushi Matama, Teruo Furuya, and Akikazu Nakamura, each of whom has contributed to my understanding of honkyoku and contemporary shakuhachi traditions.
As a craftsman, I have been fortunate to receive mentorship from master makers John Kaizan Neptune, Shingo Kimura, and Katashi Ishikawa. Their knowledge—often guarded within closed lineages—was shared with openness, allowing me to refine my methods of crafting both jiari and jinashi shakuhachi at the highest professional level.
Madake Bamboo and Traditional Harvesting
Every shakuhachi begins with bamboo, and at Chikushin, only the finest madake from Japan is used. I travel to Kumamoto and other mountainous regions to personally dig for bamboo, carefully selecting stalks based on their circumference, node placement, and natural alignment. After extraction, the bamboo undergoes aburanuki, a traditional oil-extraction process over hot coals, followed by sun drying and years of curing before it is ready to be shaped.
This long preparation ensures stability and tonal richness. The visual qualities of the bamboo—its color, natural markings, and grain—are preserved to enhance both aesthetic and acoustic character.
Jiari Shakuhachi Excellence
The jiari shakuhachi represents the pinnacle of technical precision. Its bore is carefully sculpted using a mixture of urushi lacquer and tonoko powder, known as ji. This process allows for controlled resonance, balanced pitch, and tonal clarity across all registers. My goal is to create instruments that are highly responsive, with a smooth bore, refined shine, and a resonance true to both Kinko and Tozan traditions.
Each flute undergoes countless hours of spot tuning, adjustments, and urushi finishing to ensure it meets the demanding expectations of professional players worldwide.
Jinashi Shakuhachi Philosophy
By contrast, the jinashi shakuhachi embraces the raw spirit of bamboo. Without the use of filler material, its bore remains natural, producing a dark, earthy timbre treasured for meditation and honkyoku practice.
My approach respects the restraint of the komusō monks, who valued the instrument as a tool of spiritual cultivation rather than performance. In making jinashi flutes, I refine only what is necessary, allowing the bamboo to speak with its own voice.
The result is an instrument that resonates with authenticity—less standardized, but profoundly alive.
Bore Tuning as an Art Form
Bore tuning is often considered the true art of shakuhachi making. While measurements and gauges provide a foundation, I rely ultimately on playing, listening, and adjusting intuitively. Under the guidance of Shingo Kimura, John Kaizan Neptune, and others, I came to understand that tuning is not about adhering to strict numbers, but about creating a living balance of tone, power, and responsiveness.
This philosophy aligns with the teachings of my lineage: a shakuhachi must not only meet technical standards but also breathe with spirit.
Utaguchi and Nakatsugi Craftsmanship
Two of the most delicate aspects of construction are the utaguchi (blowing edge) and the nakatsugi (mid-joint). The utaguchi, crafted in Kinko, Tozan, or Myoan styles, is inlaid with ivory substitute, acrylic, or water buffalo horn, polished to a smooth finish that channels the breath into tone. The nakatsugi is made entirely of bamboo and lacquer, sometimes bound with rattan or silver, requiring precision to within hundredths of a millimeter for stability and tonal continuity.
These details, though small, define the instrument’s voice and durability.
Care, Maintenance, and Restoration
A shakuhachi is a living instrument that requires care. Regular oiling with camellia oil, protection from extreme humidity shifts, and bore cleaning after each session preserve its integrity. At Chikushin, I also restore antique shakuhachi from Japan, repairing utaguchi, sealing cracks, and applying fresh urushi to honor the original craftsmanship while ensuring continued playability.
This philosophy of preservation reflects respect not only for the material but also for the lineage of makers and players who came before.
Cultural and Spiritual Context
The shakuhachi’s history reaches back to the komusō monks of the Fuke sect, who used it as a tool for meditation and spiritual discipline. Their honkyoku repertoire continues to guide how I approach both performance and craftsmanship. Each flute, whether jiari or jinashi, is made not only as an instrument but also as a vessel of this cultural and spiritual heritage.
By crafting shakuhachi in this tradition, I aim to honor the centuries of devotion that have shaped its voice while creating instruments for today’s players, from meditative practitioners to professional musicians.
Conclusion
At Chikushin Shakuhachi, excellence is measured not only in precision and tonal quality but also in integrity. By drawing from the teachings of my mentors, harvesting bamboo with care, and embracing both jiari refinement and jinashi authenticity, I strive to uphold the standards of the great masters. Each flute is a continuation of tradition, a bridge between cultures, and a living embodiment of bamboo’s voice. Discover the harmony of precision and spirit with a custom shakuhachi from Chikushin Shakuhachi.
About Author
Shawn Schroeder is a highly respected Shakuhachi craftsman and performer whose lifelong devotion to the instrument began in his youth and deepened through rigorous study with some of the world’s foremost masters. Since 2005, he has trained extensively under Bill Shozan Schultz, Kaoru Kakizakai, and other leading KSK teachers, including Kazushi Matama, Teruo Furuya, and Akikazu Nakamura, while traveling frequently to Japan to refine both his playing and craftsmanship. Guided by the mentorship of renowned makers including John Kaizan Neptune, Shingo Kimura, and Katashi Ishikawa, Shawn has mastered traditional Japanese techniques for crafting professional Jiari and Jinashi Shakuhachi of the highest quality. Upholding the integrity of centuries-old practices while carrying forward the lineage of knowledge generously shared with him, Shawn is recognized for blending uncompromising authenticity with artistry, ensuring each instrument embodies both technical precision and spiritual depth.
