Brian Ritchie – an Xperience Interview

Brian Ritchie – an Xperience Interview – by Rachael Skinner.

Brian Ritchie is a skilled multi-instrumentalist and founding member/bassist of Milwaukee’s iconic punk/folk band, the Violent Femmes. Throughout his career, Ritchie has produced his own solo albums and participated in various musical projects. Among these pursuits is his passion for playing the shakuhachi, a traditional Japanese wooden flute. The shakuhachi serves not only as a musical instrument but also as a means of meditation and is considered to be a spiritual tool within Zen Buddhism.

RRX: What led you to your journey into Buddhism and meditation?

BR: I have been interested in Buddhism and meditation since my teen years. Meeting and marrying Varuni, who is a lifelong Buddhist from Sri Lanka, brought me closer to daily and cultural contact with it. Then, studying shakuhachi sealed the deal. I’m not religious about Buddhism but the practice is enough in itself.

RRX: Recently you told me that you had read about the shakuhachi in a book when you were practicing sitting meditation and that you figured it would be a suitable instrument for you to try out as a musician. How do you feel playing the shakuhachi has contributed to your breathing techniques during meditation? How do you incorporate it into your musical endeavors?

BR: I was not having too much fun with sitting meditation, so flute meditation seemed like a more appropriate practice for me and my restless mind. Some people do calligraphy, archery, flower arrangement, or other forms of meditation.

RRX: You also mentioned to me that you met composer James Nyoraku Schlefer at the International Flute Festival, which ultimately led you to receive shakuhachi lessons from him 30 years ago. How long did you take lessons with James, and what was the most valuable insight you received during your time together? How was it to receive lessons, being you are otherwise entirely self-taught?

BR: I studied with James for seven years. Shakuhachi is a very difficult instrument and I never would have learned it without his guidance. But it also seemed natural at the time. Only now do I realize how much was imparted. Then I went on my own and taught myself for about 15 or more years until I started studying with Genshin Sensei, who is the Kansu (head teacher) at Myoanji in Kyoto, which is like the Vatican for shakuhachi players. I have now completed studying the repertoire for that school and will go to Japan in May 2025 to receive my Kaiden certificate.

RRX: You have become incredibly skilled throughout the years practicing shakuhachi, which ultimately led you to receive a Jun Shihan (shakuhachi teaching license) from James Nyoraku Schlefer in 2003. What was that moment like for you, to receive your Jun Shihan from the very man who gave you lessons and guided you along the beginning of your journey?

BR: Jun Shihan means teaching master and it basically meant I was good enough to teach other people, which I sometimes do. However, I am not a full-time teacher due to my hectic touring schedule.

RRX: Upon receiving your Jun Shihan you also received the name “Tairaku.” How did you receive this name and what is its meaning/origins?

BR: Tairaku was a name chosen by James and Yodo Kurahashi, who is another of my teachers. It means big music and they picked it because I am big, make a big sound and play big hunks of bamboo.

RRX: What are your favorite pieces to perform while playing the shakuhachi? What is the most unique song you have played with the shakuhachi?

BR: I use shakuhachi for the traditional meditation pieces, which is still 90% of what I play. That’s not even considered music. It’s considered as chanting through a bamboo tube. However, I can also use it for music. I recorded the first shakuhachi version of John Cage’s “Ryoanji,” and perhaps that’s the most interesting piece outside the tradition I have played.

RRX: You had played in a jazz trio called the Shakuhachi Club, and the universe aligned the paths of you and John Sparrow to perform together. Can you tell me how you guys went from jamming together in Shakuhachi Club to ultimately having him play cajon for the Violent Femmes when you decided to expand the line-up for the band?

BR: I had been playing with John on drums with jazz shakuhachi. I decided the Femmes needed some beefing up in the rhythm section. Cajon was an instrument I had been playing a lot of in NYC, so I taught John the basics. He has now gone much further than I could because of his more sophisticated percussion background. Then we brought the cajon into the shakuhachi music from there.

RRX: How did you meet Mike Kasprzak and have him become a part of the Horns of Dilemma?

BR: Mike was part of our crew, and we always break down the barrier between the crew and the band by using them in the Horns of Dilemma, sometimes even if they can’t play! But Mike can play. So he’s doing some of the cajon stuff John had been doing before he switched back to drums. It’s very organic around the VF rhythm section.

RRX: What inspired you to create Brian Ritchie and the Zen Gardeners with Mike and John?

BR: John and Mike are actual Zen gardeners. When they are not playing music, they design and build Zen rock gardens in Milwaukee. So I just called them that as a literal thing. It’s funny because people think it’s a band name. It describes their other job.

RRX: What is the most profound moment you can recall through practicing meditation?

BR: I was playing a traditional piece from Hiroshima near an artwork from Hiroshima at an art museum. While playing, an adjoining work of art was affected by the vibrations and came apart, crashing to the floor with some violence. That was a surprise to me, the audience, and the museum curators as well. So that was a winner!

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