Monty's work

Looks awesome, and I'm sure it sounds even better in your hands. Congratulations, enjoy it in good health!
Do you know anything more about the history of this particular flute?

Thanks Niklas... it's a cool story:
The flute is old and the hanko has faded to almost illegible. A very dear friend of mine, in the seventies, went to Japan on tour and met someone who was introduced to her as a Shakuhachi Master. He seemed attracted to her silver flute, and she, on impulse, gave it to him on the spot. He responded by inviting her to his home and offering her a beautiful meal. After the meal he gifted her, in return, this beautiful Shakuhachi. When she passed it on to me, it had completely cracked open, and I gave it to Alcvin for repair. When I got it back I really felt some "juju" coming from the instrument, and a sense of Time... or history... I'm so glad I finally got it together to send it to Monty. He brought it to it's maximum capacity, and it's gorgeous. My friend, unfortunately, does not remember the name of the Master she met, but she does remember him telling her that it's a very old flute that had been in his family for a long time.

That's a wonderful story!

It makes me hope that someone in Japan is posting happy thoughts right now about inheriting a nice vintage silver flute that came to Japan as a gift in the 70's.

Say, did you use this ancient beauty to record Improvisation in the jungle (Mexico)? It looks like a seasoned old sage.

Those recordings were all made with my main travel flute: a wooden David Brown 2.4. I've just found a little 1.8 beauty that's lacquered inside and out, so I feel safe traveling with it. Here it is:

What is juju? Like this http://en.wikipedia.org/wiki/Juju ?

Yes, Galina, it refers to a mysterious or magical energy that emanates from an object.

Thanrs. I like the word, will use it

Shouldn't be too hard... Russia is full of Juju!

Juju is in the eye of the beholder!

Yes Galina, West Africa is the historical origin of the word "Juju". One could use it as a substitute for "Spirit", in Western cultures. Far Eastern cultures have a similar word, "Qi" in China or "Ki" in Japan. The West African peoples of the Congo regions usually applied the term to ritual song, dance and magical objects utilized in the attainment of shamanic trance states. That being said, Juju is within the earth, the air, the ocean, the stars, the beating heart within our own chests and in our very breath. Naturally, Juju is expressed most dynamically in music and musical instruments.

Blowing Ro can facilitate a full-blown Juju experience from within.

Juju traveled into the Western hemisphere, along with Voodoo, through the atrocities of slavery. Many African traditions went completely underground, as white Christians were both, unbelievably cruel and rigidly intolerant of indigenous religious practices. The Vodun cult landed throughout the Caribbean. It holds a particularly strong presence in Haiti. Along with Vodun, the idea of Juju found fertile ground in New Orleans, Louisiana. Slaves in the American South used to secretly congregate and retain small amounts of their native culture (as much as they could get away with, at least). African Americans felt the urge to freely express themselves on their only day free of labor, Sunday. Out came the Congo drums and Juju was alive and abounding freely! As most peoples feel the need to do so, they held strong to their roots and heritage, despite the oppression their nasty overlords.

Google Congo Square: http://en.wikipedia.org/wiki/Congo_Square

African ritualistic practices experienced a Renaissance, too some extent, when slavery was abolished and out of this fulcrum, Gospel, The Blues, Ragtime, and Dixieland Jazz were born. Jazz musicians coming from the New Orleans music scene continued to use the word "Juju" to express what no other English word could. It implies a spiritual presence in all things, yet, seems to mysteriously pick certain objects or places to generate this special energy, more intensely.

As Pepe wisely phrased it, "mysterious or magical energy". I view this phenomenon from a very personal point of view. I feel Juju is not only a highly energized: object, place, idea or instrument. It is the living force that God gifted to the material universe and is immanent in our lives, whether we call it Juju or not. The word can be likened to the contemporary Jamaican usage of the phrase, "Irie vibrations", although this doesn't have the same exact meaning as Juju. Still, it joyfully expresses a magical/mystical sentiment and suggests a deeper meaning and power to an experience or state of mind. The Jamaican Rastas use this term for the very best things in life and there are plenty of good flutes that lend voice to this sentiment. I digress? I usually do...

Good shakuhachi have quite a lot of Juju in them, as their talented makers are also carried along by such a creative current of energy and harmonious vibrations. A gifted shakuhachi crafts-person could reasonably be proclaimed a "Juju-Mon".

Forgive me if I went far too deeply into this subject... but I wanted to help you to understand why we Americans use this word so freely. Well, at least the Jazz and Blues musicians do, as well as some of the hippie types who became amazed by the power of African American music. I think it is a wonderful word to apply to a beautiful and well made shakuhachi. They really do seem alive with Chi.

Wow.. great lecture on the word, Jon! You pretty well covered it...
I am from South America and I'm also a drummer, so the African culture is also part of my heritage and passion.
Sometimes I give my flutes names... it's feeling like "Juju" will be a good name for this one!

I agree. If the Juju fits... then play it like a Juju-Mon! Whereabouts in South America are you from? BTW, did you begin your journey with the flute, playing the quena? Or did you come up through the medium of jazz music? I began with rock n' roll (Moody Blues, Jethro Tull, Traffic, Blues Project), then found my groove in The Blues and naturally, segwayed into Jazz music.

In fact, I was sitting in a little jazz club in Boston, November of 1977, and when Yusef Lateef played Angel Eyes... my 19 year old mind was totally blown. Just about 2 years later, I heard GS Sachdev, front row and center; I was forevermore hooked on the beauty and organic splendor of bamboo!!! I bought Tony Scott's album, Music for Zen Meditation and the rest is history.

Only now, am I really digging into the shakuhachi and it has become my greatest musical joy. Of course, now that I have 3 Ken LaCosse's, 3 Perry Yung's, the Yuu and several other shakuhachi, including Steve Shepard's flutes... I've got a lot to play with and explore.

The quena has an airy and rich tone and I love the instrument! Sadly, all of mine have cracked over the decades and I need to gets me a new one. I'm dreaming of a quenacho grande!!! Please forgive me if I am stereotyping you, Pepe. We Northerners always assume every musician in South America can play the quena. If so, you've dropped he predominant vibrato, so associated with tunes like, El Condora Pasa and such lovely, culturally-charged, classic folk songs.

I'm sure Pepe can play the quena. He could get a decent tune out of a Coke bottle.

So professors of voodoo etymology, please expound on the difference and relationship between juju and mojo.