I have been lucky to study shakuhachi playing with a number of teachers. My first teacher was Michael Coxall of Kinko-ryu Chikumeisha, in London. With Michael I studied sankyoku, then Kinko-ryu honkyoku and some shinkyoku. I then came to Japan to study with Kurahashi Yoshio who taught me sankyoku and Fuke-shu honkyoku from the lineage of Jin Nyodo.

Returning to England I continued my studies with Michael and briefly studied with the two other shakuhachi teachers in the U.K., Richard Stagg and Clive Bell.

My desire to further my studies of Fuke-shu honkyoku and of shakuhachi making led me to decide I must return to Japan. I began studying with Chikushinkai, with Kakizakai Kaoru in Chichibu, and then with Furuya Teruo. On Furuya sensei's recommendation I began studying with the head of Chikushinkai, Yokoyama Katsuya. In 2007 Yokoyama sensei awarded me the title of Shihan, and the name Senryu (泉龍).

In 2006 I heard the sound of Araki Kodo V. His tone colour deeply impressed me, and with Yokoyama's and Furuya's encouragement, I began studying Kinko-ryu honkyoku and sankyoku with Araki. Having completed the Kinko-ryu honkyoku, Araki-sensei awarded me my second Shihan.

As my understanding of honkyoku deepened I wished to study the individual playing styles of the different areas of Japan more closely so as to better appreciate the unique aspects of the different pieces. For this purpose I study under the honkyoku expert Fujiyoshi Etsuzan, student of the great honkyoku master, collector and researcher Takahashi Kuzan. This is a great joy as Fujiyoshi-sensei has a real passion for the history and uniqueness of the different schools. I also study the ancient Fudaiji style under the Seien iemoto Iwata Ritsuen, and ancient Kyoto style under the last teachers of original Shimpo-ryu style, Takahashi Rochiku and Otsubo Shido.

For more information about lineage and the other styles which I have studied, see here.

The world of shakuhachi making is generally very secretive. I have been very fortunate to have had the opportunity to study directly with a number of makers, gaining techniques and approaches from the different regional styles, and unique innovations of each maker. My particular areas of study have been focusing on the traditional Kinko methods of ji-ari and ji-nashi making, and the more broad Fuke-shu jinashi approach.

I have become friends with a number of shakuhachi collectors and have been lucky to play and closely study many very high quality shakuhachi from many of the old makers. This is especially important for my shakuhachi making. I also own a number of high quality shakuhachi made by masters of Kinko-ryu and various other Fuke-shu lineages. It is from these that I draw much inspiration and learning.

The greatest influence for me has been the shakuhachi of Araki-ha - most notably Araki Chikuo, his son Araki Kodo III and his student Miura Kindo. Araki Chikuo made "jinashi", and is widely regarded as the best jinashi maker. Araki Kodo III and Miura Kindo developed the "jiari" making style, and are similarly regarded as the best makers of this style. Through their instruments, and the guidance of my teacher Araki Kodo V, I have learned the special points of both of these styles and now continue the tradition as the Araki-ha maker.

My aim is to create shakuhachi with the wonderful tone colour of these old shakuhachi, combined with the modern demand for precise pitch, and particularities of lineage-specific techniques, and greater variety of shakuhachi lengths, up to 3 shaku 4 sun.

For sound samples, see the shakuhachi making page.