Instruments such as the shakuhachi and the nay—though both many centuries old—have seldom met because they come from very distant places. The nay is a piece of reed from the Middle East, while the shakuhachi is bamboo from Japan. Although very simple in substance and shape, their sound has a strong character because they have grown to represent in the most complex ways what they have inherited from the past. When Kamal Helou, my musical partner, and I made these two instruments converse, we knew that we were forcing the laws of time. We found the first musical contact timid—both the shakuhachi and the nay imposing their characters, clinging to their traditional aesthetics. The shakuhachi is sharp and focused, the nay moving and warm. Yet the similarities were evident, both instruments having come to reflect similar ethical questions—the universality of being and the intuition of the soul.