Geschichte (Ronnie Nyogetsu Reishin Seldin):

San'ya (Jinbo) spielt auf den folgenden Alben

	Album	Künstler
	Castles In the Sky	Shakuhachi : Allen Nyoshin Steir
	Empty Bell, The	Shakuhachi : David Duncavage
When a monk begged for alms at a home where a child was soon to be born, he would play this honkyoku as a prayer for a safe birth. It is named after Jimbo Masanosuke, a komuso who is credited with its preservation.
	Flare Up	Shakuhachi : James Nyoraku 如楽 Schlefer
Sanya is a traditional piece that has survived in several versions. When a komuso (wandering priest) begged for alms at a home where a child was soon to be born, he would play Sanya as a prayer for a safe birth. The version here (played on a long, 2.8 shakuhachi) is named after Jinbo Masanosuke, who devoted his whole life to the perfection of this one piece.
	Ichion Jobutsu	Shakuhachi : Matsumoto Kyozan
	Ki-Sui-An Honkyoku Vol 1	Shakuhachi : Ronnie Nyogetsu Reishin Seldin
	Kyoto Spirit	Shakuhachi : Kurahashi Yōdō II
The wandering monk Jinbo played this version of San'ya (literally "three valleys"), a common title for meditative honkyoku. Many consider this Kurahashi-sensei's signature piece.
	Makoto Shinjitsu - with a heart of true sincerity	Shakuhachi : Ronnie Nyogetsu Reishin Seldin
"Sanya" is a 400-year-old honkyoku, expressing a free-floating, boundary-less Zen state in which there is no longer any up or down, left or right. It also refers to being unified in action, or to pure action from the heart rather than from the head. This particular version of Sanya was played by a komus6, or wandering priest, named Jinbo, who devoted his whole life to the perfection of this one piece. This piece is also played for safe and easy childbirth. When the woman goes into labor, uncooked rice is poured down the Shakuhachi. Then, during the birth, this piece is played. After the birth, the "blessed rice", by now cooked, is given to the new mother to eat.
	Pathway	Shakuhachi : Robert Herr
San'ya (literally, "three valleys") refers to a semi-mythical location in China. The beauty of San'ya's landscape is legendary and its people are said to be enlightened. As shakuhachi music can be interpreted freely by the player, there are many versions of a piece named after San'ya. Valley San'ya, Mountain San'ya, Echigo San'ya, Futaiken San'ya. Jimpo San'ya was a version of San'ya played by a komuso (wandering priest of the Fuke sect of Zen) named Jimpo. It is said Jimpo played only one piece on the shakuhachi throughout his life.
	Prayer for the Missing, A	Shakuhachi : Allen Nyoshin Steir
	Reibo - In memory of the bell	Shakuhachi : Ronnie Nyogetsu Reishin Seldin
"Sanya" is a 400-year old honkyoku, expressing a free-floating, boundary-less Zen state in which there is no longer any up or down, left or right. It also refers to being unified in action, or to pure action from the heart rather than from the head. This particular version of Sanya was played by a komuso, or wandering priest, named Jinbo, who devoted his whole life to the perfection of this one piece.
	Sui Zen - Blowing Meditation on the Shakuhachi - 01	Shakuhachi : Ronnie Nyogetsu Reishin Seldin
The first piece in this collection is called Jimbo Sanya, named for a monk, Jinbo Masanosuke, who dedicated his life to playing his own version of this sanya, in his own style called Sanyasu at the Remponen temple in Fukushima. This piece was collected by Jin Nyodo about 75 years ago, but the original version, from which our present-day version of Echigo Sanya is also derived, is thought to be about 400 years old. For this reason, Jimbo Sanya is said to be an arrangement of Echigo Sanya. It is played here on a 1.9 length flute. To understand sanya, it is important to realize that the action is done from the kokoro (heart / mind / spirit), and not from the head. In childbirth, or in playing shakuhachi, or, in fact, in all aspects of life, one's actions must be united, and not distracted by anything else. Kurahashi Yodo has said, "All is the same, one's heart should be samai, self-effacement." While listening to honkyoku, one should not expect a melodic progression characteristic of Western music. It is not metric, nor rhythmic. It further breaks Western tonal rules by having in-between tones or microtones. Lowering the head flattens the pitch, and raising the head makes it sharper. Side-to-side head movement produces vibrato, unlike the diaphragmatic vibrato characteristic of Western wind instrument playing. Jimbo Sanya uses a technique called tamane, a gargling effect that somewhat resembles flutter tonguing in Western flutes. However, the sound is generally produced from the back of the throat. Similarly, you do not use tonguing to repeat a note, as is common with a Western flute. Rather fingering or playing another intermediate note initiates notes and sets them apart.
	Suizen - Chikuho ryu ni miru fuke shakuhachi no keifu - 02	Shakuhachi : Sakai Chikuho II