by Naomi Marcus
In a neighborhood stuffed with pizza joints and drowning in cappuccino cafes, how lovely to come upon a unique gem of a store, devoted to one beautiful instrument: Flute World, a clean well-lighted place for flutes.
The welcoming, charming showroom on the corner of Union and Grant features high ceilings, natural light spilling in from tall windows, displays of instruments, musical cases, accessories along the walls, and a private space to test out flutes: the Zenbooth.
Presided over by two flutists, William Underwood, Flute Consulting Specialist, and Cyron Jed Bejasa, Instrument Service Specialist, this is a one-stop shop where musicians can buy C-flutes, piccolos, alto and bass flutes, where they can bring their instruments in for servicing, where they can peruse boxes of sheet music and where, on one recent Saturday afternoon, they could attend a performance and master class with world renowned jazz flutist, Ali Ryerson, in an intimate supportive setting.
The shop opened here in 2019 as a boutique branch of the flagship Flute World, established in the early 1980s by Detroit Symphony Orchestra flutist, Shaul Ben-Meir.
Originally a resource for sheet music (as most music publishers were European, so hard to find pre-internet), it expanded into a business and resource, concentrating on flutes. Flute World was bought in 2015 by the J.L. Smith Group (Jeff Smith, a leader in the instrument service industry and his flutist wife Sarah). They have an extensive library of flute repertoire, accessories, and extraordinary instruments at their central location in Charlotte, North Carolina, and the flagship boutique in Birmingham, Michigan.
When Sarah and Jeff visited San Francisco in 2018, they thought it the perfect location to expand their business, and it quickly became a beloved resource for Bay Area flutists of all abilities, from novice student to symphony musician. Here, all levels of skill are welcome: kids taking their first lessons, orchestral and opera professionals, collegiate scholars, and adults returning to the flute after abandoning it for years.
Though Flute World is closed on Sundays, Underwood recounts, “A local professional player, in search of a new a piccolo, needed to visit on a recent Sunday due to their demanding schedule. How could I not make myself available and come in? This is a resource for our community. As a flute player myself, it was an honor to help her. This is honorable work.”
Underwood’s story of a life in “this honorable work” goes back to his boyhood in Detroit where his dad played saxophone and mom played the flute. “I wanted to play clarinet or trumpet, but I had too big an overbite and could not produce a sound. When I tried the flute, I could make a pure sound, so I’ve always felt like the flute chose me!”
Underwood attended an HBCU, Florida A&M, for his undergraduate studies, playing both in the wind symphony and their renowned band, “The Marching 100.”
He earned a Bachelor of Science degree in music and recalls some of his flute influences, like Julius Baker. “He is like THE flute grandfather,” and he laughs, “You have these dreams you know—I want to play here, I want to play there, but mostly I was interested in spending dedicated time with the instrument.”
Underwood completed a master’s degree in flute performance back in Michigan, at Wayne State University, and then toured several summers in Japan with the traveling stage show, Blast! The Music of Disney,where the musicians were the show, performing onstage in a high energy review of Disney and Anime tunes.
“My life was cool in Detroit, I was teaching and gigging, but the company flew me to San Francisco in the Fall of 2022 to test for a new role, Flute Consulting Specialist.”
Clearly, the job was a match.
Underwood’s calm and gracious manner also makes him perfect as an event host. “During Christmas, we host an annual flute choir play along, led by Pacifica-based flutist and teacher Gail Edwards. She’s the flutiest flute lady I know.”
You can often hear Bejasa before you see him, as he frequently plays flutes he is working on at the open window. Raised in Burbank, California, in a non-musical family of medical and construction professionals, Bejasa found his way to the flute on his own.
“From the moment I started playing the flute in middle school band, I knew from day one that this was what I wanted to do with the rest of my life. “
Bejasa smiles as he recalls, “I remember saving up my lunch money to pay for private lessons. And then my band director said, ’Oh, don’t pay me, just come see me during lunch hour, and we would sight-read duets during the break.” He credits her generosity and his own tenacity—“she noticed how much I practiced”—for his early success.
Coincidently, Bejasa’s neighbor was also a flutist with the L.A. Opera, “So I had two flute moms growing up. I was always asking for flute fingerings, so it was always me seeking it out. “
During high school, he became principal flutist with the Los Angeles Youth Orchestra.
His interest in flute repair began with his own flute technician, Paul Rabinov—one of the most respected in the field—who often let him sit beside him on the bench. “He would show me his repairs step-by-step and talk about the history of flutes, their makers, and the lineage of the craft. Watching him, I came to see repair as more than just ‘fixing’ instruments. It’s a technical, creative, artistic, and musical discipline, requiring as much sensitivity as performance itself.”
Bejasa came north for the orchestral program at U.C. Berkeley, graduating with a degree in music. Then he dove into the Bay Area freelance scene: pit orchestras, symphony subs, chamber concerts, and teaching. “I built a private flute studio of about 20 students and worked with several school districts. Many of those schools had flutes in poor condition and little funding for repairs. That challenge helped me sharpen my repair skills quickly—I ended up servicing hundreds of school flutes, making them playable for the next generation.”
Bejasa was at Flute World’s opening day in San Francisco and remembers seeing the empty space intended for the technician. He thought to himself, “What a dream job!” Years later, here he is, working in that very spot.
“The clients I work with are often high-level players who rely on the flute for their livelihood. If the instrument doesn’t feel easy to play, or if certain notes are not sounding in tune and require extra effort, it is my role to ensure the flute is in optimal performance condition, so they can play with comfort and confidence.”
An annual flute service takes meticulous, time-consuming, old-school craftsmanship. “Last week a professional musician dropped off her flute for its annual Master Service. I completely disassembled the instrument, removed dents and scratches on the silver tube, cleaned, lubricated, and polished the mechanism, and replaced five pads. But the most important—and perhaps the most methodical—part of the work was making sure every pad achieved a truly hermetic seal at first touch. Even a tiny leak can negatively affect the performance of the instrument. Precision and care matter at every step.”
Watching Underwood and Bejasa interact with customers and visitors alike, one is struck by their intelligence, grace, kindness, and their deep passion for the flute. They take all the time and care that’s needed for each client, and their rave reviews online reflect both gentlemen’s generosity of spirit, as well as technical skills.
Asked what is important to know about his work, Bejasa replies, “It’s this: Flutes, like people, thrive when they’re cared for. Maintenance isn’t just about fixing—it’s about honoring the instrument, extending its life, and giving musicians the best chance to tell their story through music.”
