Pierre Barouh
Pierre Barouh: Saudade(Un Manque Habite) (Released in 2001, Rating 4)
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A 1.Ce n'est que de l'eau 2. Nous 3.Tes dix-huit ans 4. De l'amour a l'amour 5. La barque de l'oncle Leon 6. Mourir au jour le jour 7. Saudade (Un manque habite) B 1. On n'a rien a faire 2. Le roman 3. Le tour du monde 4. Le verbe aimer 5. Notre guerre 6. La chanson du port 7. Chanson pour Teddy 8. Le courage d'aimer Recorded in 1960 ~1963 |
Pierre Barouh is a much loved and respected artist in Japan. Of course, when you ask Japanese people about him, most of them even don't know his name. But I can give you some proof of my statement. First, most of his records are available in Japan. Even if some of them are out of print, we can expect them to be re-issued in the future. Second, in 80s, two wonderful records were made as a collaboration with Japanese musicians. Third, some albums are only released in Japan. There should be certain numbers of fans in Japan, compared to other countries. If we judge it from the availability of the records, numbers of Japanese fans may be bigger than that in France.
I am not sure the reason why Barouh is "popular"
in Japan. But I can explain why I am attracted by his music:
1. Sympathy to the 
different
cultures, particularly to Brazilian music, 2. Amateurism,
non-professional or non-profit seeking attitude toward music,
3. Free soul, free way of living life. These three things are
constant features of his works. I love them because they are
the things which I wish to have and don't have.
This is the compilation of Barouh's rare singles recorded in 1960 ~ 1963. Most of songs were co-written with Francis Lai. And some songs were re-recorded in the later albums. Young and lovely, but full of "Saudade".Though the sound production is like a conventional "chanson" and not very much sophisticated, these songs definitely capture three constant features of Barouh.
The most amazing song is title track, "Saudade (Un manque habite)". This was co-written and played with Baden Powell in 1960. * (I am not sure if this was released as a single or not.) This should be the first attempt of French Bossa Nova in the history. Considering that the "first" Bossa Nova song, "Chega De Saudade" by Joao Gilberto, was released in 1958, and "Getz/Gilberto", which made Bossa Nova international hit, was released in 1963, this recording may be the very first attempt of non -Brazilian Bossa Nova. More than a historical meaning of this song, it is a beautiful song which hits your heart directly. Also, there is a French cover of "Agua De Beber" of Jobim, " Ce n'est que de l'eau". (This was re-recorded in "Ca Va, Ca Vient"(1971). )
In the late 50s, Barouh traveled around the world, and lived
in Portugal and Israel. When he was in Portugal, he knew 
Bossa
Nova. Barouh visited Brazil several times to see Brazilian musicians.
And Barouh got friendship with Baden Powell and Vincius de Moraes.
There is a documentary film, "Saravah", which
was made at the visit in 1969. (We can see young Maria Bethania!
Of course, Baden Powell and many important Brazilian artists.)
In this film, we can see how Barouh respects Brazilian artists.
By the way, Vincius de Moraes was a diplomat in a Brazilian embassy in Paris! I think there is a tradition of amateurism in Bossa Nova and Brazilian music. This amateurism can be seen in non-professional way of singing. And I think amateurism is also in very poetic and deep lyrics written in plain words.
So, this is the first step of how an amateur in music, full of curiosity, could make the great records.
(Jan/2003)
*There is also an information in the WEB that this was recorded in 1962. The reader who is very familiar with Baden Powell's works wrote me that the recording was more likely to be in 1964-65. I personally feel he may be right because the sound is similar to Samba Saravah and Roses. (May/2003)
According to Barouh himself, it was recorded in 1959-1960! I got this information from a reader who asked Barouh about this issue. (July/2003)
Pierre Barouh: Vivre (Released in 1965 or 1969?, Rating 4+)
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1.Vivre! 2. Unjour d'hiver 3. Ce piano 4. Le coeur vole 5. Roses 6. Les filles du dimanche 7. Huit heures a dormir 8. Monsieur de furstemberg 9. Des ronds dans l'eau 10. Celle qu'on n'oublie pas 11. De l7amour a l'amour 12. Chanson ouverrte a mon directeur artistique |
This is the first Pierre Barouh's album. I'd been searching for this record for a long time in vain. When it was re-issued on CD in 1992, I was thrilled. (I think this was only possible in Japan.) More sophisticated than "Saudade", but still sounds like "chanson".
I am not sure the original release year. Some information say it is 1965, and others say it is 1969.* I personally feel 1965 might be more likely. First, this gathers the recording for Disque AZ. If it were recoded in 1969, it should have been for Saravah, which was founded in 1965 or 1966. Second, the sound style is close to the songs in "Saudade" and "Un Homme 
Et Une Femme". Third, in a Japanese notes of "Ca
va, Ca Vient"(1971), Naoki Tachikawa wrote that the
first album of Barouh was very rare, and he was lucky to get
it. It is hard to imagine that records get so scarce in two years.
Most of songs were co-written with Francis Lai. "Roses" was written with Dorival Caymi. This was recorded in Baden Powell's house at the same time with "Samba Saravah". Roses is the most Brazilian tasted song. Overall image of this album is more French than Brazilian. But Brazilian taste does not fade away, it is well mixed in many songs.
The title track, Vivre!, is the impressive jazz waltz. This is the statement of the belief to live and sing in his own way, "Oui je suis un garcon / Puisque j'ai mes chansons / je me servirais d'elles / Pour melanger ma voix / A tout ce que je crois / Etre ce qu'on appele; vivre,vivre,vivre..."
In "Chanson ouverrte a mon directeur artistique", he criticizes art directors who'd like Barouh to write political "protest" songs for sales. Barouh sings that he will not write a political song for money, and he will take care of the loved one and search inside of his soul. This attitude reminds me of the singer-song-writers in the early 70s. And this shows his ethical stance and attitude toward making music.
There are many beautiful songs. Some songs were re-recorded in the later albums.
(Jan/2003)
* According to some information, this is a compilation of the recordings around 1965, and was originally released in 1969. But I found the Brazilian edition of this record released in 1968. The Brazilian edition is self titled LP. (Apr/2003)
O.S.T. : Un Homme Et Une Femme (Released in 1966, Rating 5)
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A 1.Un Homme Et Une Femme (Orchestra) 2. Samba Saravah (Vocal) 3. Aujourd Hui C'est Toi (Vocal) 4. Un Homme Et Une Femme (vocal) 5. Plus fort Que Nous (Orchestra) B 1. Aujourd Hui C'Est Toi (Orchestra) 2. A L'Ombre De Nous (Vocal) 3. Plus Fort que Nous (Vocal) 4. A 200 A L'Heure (Orchestra) |
The original sound track of "Un Homme Et Une Femme" (1966), by Claude Lelouch. Music is by Francis Lai and Pierre Barouh. Needless to say, famous title song, "Dabada Dabadabada..."
Barouh
sings in Samba Saravah, Un Homme Et Une Femme
(Duet with Nicole Crisille), A L'Ombre De Nous. Nicole Croisille
sings in Aujourd Hui C'est Toi, Plus Fort que Nous. These
tracks are really good. Particularly, Samba Saravah, which
is French version of "Samba Da Bencao" by Baden
Powell and Vincius de Moraes, is my favorite. This song helped
Bossa Nova to be international.
Pierre Barouh also appears in the film, as an ex-husband of Anouk Aimee. He sings Samba Saravah in the film. This scene looks like music clip of MTV. Moreover, the whole film can be seen as a kind of MTV-like image video, meaningless usage of black and white, flash back scene etc. Do we have to appreciate this as an innovative film which made a way to MTV? I don't know. As I saw this film lately on the video, I thought the film itself is rather out-dated by today's standard, though I can still enjoy it. (Oh, Anouk Aimee is so beautiful!)
So, I love this record away from the film. And I hear this with remembering the good image when I first saw this film.
I used to hear that Barouh had a constant cash flow from "Un Homme Et Une Femme", so that he didn't have to worry about money to live . And Pierre Barouh married Anouk Aimee! (How long they'd been married? Pierre Barouh married Atsuko Ushioda, later.) I envied that situation...
Anyway, based on the success of the film and music, Barouh
founded a record 
label,
Saravah. (Some say it was in 1965, others say in 1966. If it
was in 1965, the money coming from "Un Homme Et Une Femme"
didn't help founding Saravah.) This label, the kings of slow-biz,
released many important records, including Barouh himself, Brigitte
Fontaine, Jacques Higelin, Nana Vasconcelos and Lewis Furey etc.
Barouh used to say to the artists, "Take away your self-censorship.
Go to the deepest place in yourself. I'll take care of you even
if your recording takes months. Please make the thing that you
will not be shamed of in a half year later."
The respects that Barouh receives from many artists comes from this attitude of making music, and from the result realized in the catalog of Saravah. (But where can I find a complete catalog of Saravah?)
(Jan/2003)
O.S.T. : 13 Jours En France (Released in 1968, Rating 3+)
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1. 13 Jours En France (Orchestra) 2. Killy (Vocal) 3. Peggy (Vocal) 4. Descente (Orhestra) 5. Killy (Organ) 6. 13 Jours En France (Chorus) 7. Peggy (Orchestra) 8. Descente (Vocal) 9. Killy (Orchestra) 10. 13 Jours En France (Organ) |
The original sound track of "13 Jours En France" (1968), documentary film of winter Olympic 1968 directed by Claude Lelouch. Japanese title of the film is "Siroi Koibitotachi" (White Lovers)...... I used to love the sweet, sweet melody of theme music when I was a child. Ahhh.
All tracks in this albums are composed by Pierre Barouh and Francis Lai. "2 tracks, Peggy and Descente, are sung by Barouh. Killy is sung by Nicole Croisille, who was also a partner in "Un Homme Et Une Femme".
Not interesting or beautiful as the sound tracks of "Un Homme Et Une Femme". It can be heard as a kind of French kitsch. Typical French sound of cheap organ.
(Jan/2003)
Pierre Barouh: Ca VA, Ca Vient (Released in 1971, Rating 5)
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1.Ca va, ca vient 2. De l'aimour a l'amour 3. Le petit cine 4.Ce n'est que de l'eau 5. Boite de cirage, creme de marron 6. Le courage d'aimer 7. 80 A.B. 8. Paris Wellington 9. Decroche-Moi la terre 10 La chanson du port 11.La foret 12. Le petit cheval de bois 13. Lorsque j'etis phoque (Bonus track) 14. Le naufrage 15. La complainte de ben |
The second album of Barouh. This is the main reason why Barouh is so special to many fans. As for "Un Homme Et Une Femme", I did not care about Barouh's existence when I first saw the film. I had to re-see it later to check Barouh on the video. For me, the name of Pierre Barouh first came as a producer of Brigitte Fontaine's "Comme a la radio" (1970) and an owner of Saravah.
In the
late 70s and early 80s, the circle of my friends were borrowing
and lending the records. One day, I borrowed "Comme a
la radio" from a friend as I lent him "Y"(1979)
of The Pop Group. I was haunted by "Comme a la radio".
Everything about that record became important to me. So, I gradually
found Art Ensemble of Chicago and Pierre Barouh. In 1981, "Ca
Va, Ca Vient" was re-issued in Japan, along with Brigitte
Fontaine's albums. Of course, I bought them, and as soon as I
hear "Ca Va, Ca Vient", it became my all-time-favorite
record.
Compared to the former records of Barouh,
the sound production had changed a lot. There is no conventional
"chanson" taste anywhere. In short, it is a Saravah
sound. It is a natural sound with complex mixture of different
cultures. Ce n'est que de l'eau is re-recorded
version of Jobim's song. It is a Bossa Nova , but sound is more
sophisticated than the one in 1960s. In 80.A.B. Barouh
sings with the African percussion sound of Areski. De l'amour
a l'amour is sung only with tick-tak sound of clock. Decroche-Moi
la 
terre
sounds like Kurt Weill. Jazz like Saxophone is impressive
in Lorsque j'etis phoque. And title track, Ca va, ca
vient is the mixture of many things, circus like music. There
are many strange and unordinary approaches to music. And all
these things are so natural, full of humor, and full of poetry.
I personally love Paris Wellington. This is a sentimental song, which sings about the distant lover living in the other side of the world. The singer wonders how he communicates with her. So, he imagines he communicate with the sound of stepping as Morse code.
Ca va, ca vient is also the title of the film Barouh made in 1971. According to Atsuko Ushioda Barouh, it is more than music. It makes us doubt about film as a media; it is an act of terrorism... This film should be discovered. (You can see the list of Barouh's film work as a producer and an actor here. )
In CD edition, There are two bonus tracks. La complainte de ben is the work around 1974. The recording date of Le naufrage is not known. This is a unique song using a rhythm box.
(Jan/2003)
Pierre Barouh : Viking Bank (Released in 1977, Rating 4)
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1.Viking bank 2. Il y a des jours ou rien ne va 3. Huit heures a dormir 4. Altitude 5. Oh!America 6. La nuit des masques 7. Chanson pour Teddy 8. De monmartre a pigalle 9. Chanson pour Jacky 10. La bicyclette 11. Le tennis 12. Maeginal 13. Le Rossignol (Bonus tracks) 14. De ponds dans L'eau 15. Perdu |
Third album of Barouh. The sound became more like ordinary pop music, or more American. For the people who love the strange and natural music, this album may not be interesting. However, through listening several times, the beauty of the songs gradually appears.
Viking
Bank starts with catchy narration of female voice. It is
a song about a longing for travel caused by the weather reports
on the radio, talking about the weather in far away places. Attitude
is a romantic and dramatic song. It is about the altitude, solitude
and love for words. This reminds me of Saint-Exupery. And La nuit des masque! You have to
have this album just to hear this song. This is written by Chico
Bouarque. Barouh sings this with Dominique Barouh, who was the
second wife of Pierre Barouh.
Compared to catchy songs in the first half, A side, of this record, songs starting with Chanson pour Teddy is quiet and more French tasted. Beautiful songs. As the covers of this album suggests, the cinema like songs picturing some short stories.
Two bonus tracks on CD. Re-recording of De ponds dans L'eau features the duet with Francis Lai, and impressive Arabic rhythm is added. Perdu is the Boosa Nova like version of the song which appears in Le Pollen (1982).
(Jan/2003)
O.S.T. : Le Divorcement (Released in 1979, Rating 3+)
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A 1. Le Tourment 2. A Noite Do Meu Ben 3. Tu l'as Dit 4. Lucia 5. Henry Allyson B 1. Henry Allyson 2. Lembrancas 3. Balade A Beaubourg 4. Sheherazade 5. Lea Song 6. Le Divorcement |
The original soundtracks of Le Divorcement, the film of Pierre Barouh. (No idea about what this movie is like.)
Barouh sings in the first track, Le Tourment. It is beutiful song. Though this is a loose album as the soundtrack albums often are, there is a good relaxed feeling in this album. And Brazilian taste is here and there. That is pleasant.
(Apr/2003)
Pierre Barouh: Le Pollen (Released in 1982, Rating 4+)
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1.L'Autre Rive 2. Pepe 3. Sans Parler D'Amour 4. Perdu 5. La Lettre 6. La Pollen 7. Parenthese 8. Les Uns Et Les Autres 9. Demain Produced by Naoki Tachikawa |
This is the collaboration album of Pierre Barouh and Japanese musicians. The longtime longing and respect of Japanese musicians toward Pierre Barouh was resulted in this album. This album is full of love.
There are beautiful songs composed by Kazuhiko Katoh, Yukihiro Takahashi, and Yasuaki Shimizu. (There are also songs of French composers like Fancis Lai. All Lyrics are, of course, by Pierre Barouh.) The back band is made of the members of Moonriders, Yasuaki Shimizu, Ryuichi Sakamoto, Nanako Satoh etc. Producer was Naoki Tachikawa, a long time fan of Barouh. Almost the best of Japanese musicians at that time appeared in this session. This shows how Pierre Barouh is loved by Japanese people, particularly by the front-runner musicians.
The title track, Le Pollen, sings a respect toward the artists like Jean Cocteau, Erik Satie etc; "Audjourd'hui, Je suis ce que je suis / Nous sommes qui nous sommes/ Et tout ca, c'est la somme / Du pollen dont on s'est nourri." This song encouraged me so much. And saxophone solo by Yasuaki Shimizu in Parenthese is very impressive.
This soundsa bit digital because it was recorded in the beginning of the digital age. But it doesn't decrease its value. Rather, it is a challenging spirit toward the new technology. They were trying to mix the digital sound and acoustic sound smoothly.
(Jan/2003)
Pierre Barouh: Okurimono (Released in 1982, Rating 3+)
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A 1. Perdu 2. La Lettre B 1. Saint Paul De Vence 2. Boule Qui Roule |
This is the record that came from the image of Le Petit theatre de Francois Gillet.
A side is from Le Pollen. B side is new songs. Two songs are arranged and mainly played by Ryuichi Sakamoto. Boule Qui Roule is simple but beautiful song. Maria David sings a Japanese lyrics in the song, and it sounds so nice.
(Apr/2003)
Pierre Barouh: Dites 33 Volume 2 (Released in 2001, Rating 3+)
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1.L'Autre rive 2. Decroche-Moi La Terre 3. 80 A.B. 4. Chanson Pour Teddy 5. Chanso Pour Jacky 6. Chats, chiens, Chats 7. Pepe Intro 8. Pepe 9. Le Courage D'Aimer 10. Le Pollen 11. Parenthese 12. Perdu 13. Ca Va, Ca Vient 14 Boule Qui Roule 15. L'Autre Rive (fin) Live in L'Espace Pierr Cardin, Feb, 1983 |
The recently discovered live recording of the concert in Paris.
The band members are Moonriders and Yasuaki Shimizu. This is the record of Moonriders' only once performance they officially played in the foreign countries! (They are very "Japanese" band, it should be hard for the foreign listeners to understand their sense of humor.) Though the sound quality is not very good and Barouh's vocal is sometimes unstable, this is worth hearing. When we hear this carefully with using the imagination, we can feel magical excitement of the concert.
Ca Va, Ca Vient is moving. (I heard Japanese concert started with this song, musicians coming to stage from audience side with playing instruments. Oh, how I wanted to be there! This record works as a consolation for me.) And the last number, Boule Qui Roule! In the last part of this song, the song is sung in Japanese (by Youki Hamaya?). This is also moving, "Qui, et tout ca,ca sepasse / Quleque part dans l'espace / Sur une boule qui roule / Dans l'infini"
Yes, this event happened sometimes in somewhere in the universe, though I was not there.
(Jan/2003)
Pierre Barouh: Sierras (Released in 1984, Rating 4+)
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1.Sur le Fil 2. Sierras 3. Le Tourment 4. Que Viva villas 5. Le Chirurgie joue Du piano 6. Ce Jour-La 7. Coeur Battant 8. Un Regrain Pour Les Dauphins 9. Chats Chiens Chats Produced by Naoki Tachikawa and Pierre Barouh |
The second studio collaboration with Japanese musicians, though some songs were made by French production.
This might be under-rated album because it sounds simple and modest, compared to Le Pollen. But it is as good as its former one.
Songs are all beautiful. Ce Jour-La
composed by Kazuhiko Katoh is the high light of this album, though
it is not dramatic 
at all.
There is a composition of Lewis Furey, Le Chirurgien Joue
Du Piano. This song has a typical Furey melody. I was surprised
to find the credit for its arrangement. It was done by Jannick
Top, a member of Magma. Another interesting song is Chats
Chiens Chats. This song is known as "Omocha no cha
cha cha" in Japan.
Original cover illustration was by Akiko Kosaka. It was beautiful, and fits to a mood of this record. Now, the cover of CD edition of this album is changed. (See left.)
There is no famous song, but my personal favorite album next to Ca va, Ca Vient.
(Jan/2003)
Pierre Barouh: Saravah (Released in 1990, Rating 3)
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1. Chanson pour Maia 2. Berceuse 3. Qu'est qui fait courir un enfant? 4. Noel 5. Alphabet |
Mini album for children. Chanson pour Maia and Alphabet include Song of ABC. Berceuse has similar melody with Japanese child song, "Shabon dama tonda." Noel is the vocal version of theme melody of 13 Jours En France.
(Jan/2003)
Pierre Barouh / Aneta Vallejo etc: Au Kabaret De La Derniere Chance (Released in 1992, Rating 4)
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1. L'Anniversaire - Version 1 2. Le Termps d'une Vie 3. Au Kabaret de la Derniere Chance 4. A l'Endroit a l'Envers 5. Veni o Bella 6. Reussir a Paris 7. Welcome, Bienvenue 8. Venez Jouer 9. Time is Money 10. L'Indifference 11. Coloradita 12. S.F er B.D Clichés 13. La Flor de la Canela 14. L'indifference 15. Maman 16. Chanson sans Virgule 17. Le Jouet Cassé 18. Fais Gaffe a Elle 19. Mystere qui Tonne 20. Pour que La Memoire du Vent Retienne nos Chansons 21. L'Horaire et le Temps 22. L'Anniversaire - Version 2 |
Since 1985 to 1992, Barouh spent most of his time to work with the amateur theater group, theater Aleph de Oscar Castro. Their collaboration resulted in 4 theatrical works "Kabaret de la derniere chance", "La maison accepte l'echec", "La tralalaviata", and "Malenke". This album gathers the songs from these works. I don't know anything about these works. Some say they are Latin American / Garcia Marquez-like world. Sounds interesting.
Barouh wrote lyrics, and played as an actor. Music is mostly composed by Aneta Vallejo. According to Barouh, Vallejo started to compose by Barouh's recommendation. It is almost unbelievable because the music she wrote is terrific. It reminds me of Kurt Weill's theatrical works. Even though we cannot hear many of Barouh's vocal in this album, this is surely worth listening for the composition of Vallejo.
(Jan/2003)
Pierre Barouh: Itchi Go Itchi E / Une Recontre, Une Occasion (Released in 1998, Rating 4)
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1.Plus loin 2. Le Cheval de monsieur saio 3. De la note au mot 4. Andantino 5. Confidences 6. Lili 7. 80 A.B. 8. Le voyage 9. Yonaguni 10. lorsque j'etais phoque 11. Les grands predateurs 12. la lune 13. Hasta siempre 14. Tonio 15. Samba-saravah 16. La fleur et le colibri 17. Plus loin |
As I re-listened to all of Barouh's main works all over again, I realized the consistency of his work. I can hear the same spirit running through years.; Sympathy to the different cultures, particularly to Brazilian music, Amateurism, non-professional or non-profit seeking attitude towards music, Free soul, free way of living life. And I can also realized his musical interest has been always changing, he is always searching for new encounter with joyous curiosity. Itchi Go Itchi E is Japanese words which means "one encounter, one chance." This is exactly the words to describe the life of Barouh.
This first full album since 1984 shows his consistency. But, as for a musical challenge, it seems that he came back to the starting point after a long musical journey. Sound became more acoustic and simple, Brazilian tasted. And there are many re-recorded songs. And there are many reunion encounters, though there are some new encounter. These things make this album sound like usual "come-back" album more or less.
But his attitude is not nostalgic at all. He is enjoying music and life. Though his hair became white in the cover photo, his voice is still very young. Yes, he still has a spirit of boy like the lyric of Vivre!
We should simply enjoy this album and thank for the existence of this come-back album.
(Jan/2003)
Pierre Barouh: Le Grenier de Saravah vol.1 / Rare & Unreleased Tracks Pierre Barouh (Released in 2003, Rating 4+)
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1.C'est a Croire
2. La tour de Nesle
3. La poupee espagnole
4. En fermant la Porte
5. L'arbre penche
6. Crepuscule
7. L'allegresse
8. Les amants de la place Dauphine
9. Maman
10. Le jouet casse
11. L'horaire et le temps
12. Courage d'aimer
13. Sortie du bal
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Guessing from the title, I was expecting the compilations of historical recordings of Barouh through his 40 year career. But all tracks were recorded between 1998 and 2003. So, this is a "new" album of Pierre Barouh! Actually, there is a natural continuity through the album, and all tracks are very charming, no sense of "out-take". The songs in this album are mostly played in simple formats. They sound very pure and naked. They reach my soul directly.
Still, this is a compilations of "rare and unreleased tracks". For the most surprise, the first 5 tracks were written by Barouh 50 years ago! According to Barouh, when he heard the songs in Saudade (2001) for the first time in 40 years, he suddenly remembered the songs that he wrote when he was a teen-age boy. This is a Proust like episode. These songs bring me a long forgotten feeling that music is good. Yes, music is good and beautiful! The songs are full of fresh joy of playing music. And next song, Crepuscule, after these 5 tracks is the newest song of Barouh. Thus, this album contains Barouh's works in 50 years.
Another highlight for me is Les amants de la place Dauphine. This is also a song that was written when he was young, based on the poem of Aragon. The contrast of passionate vocal of Francoise Kucheida and humorous vocal of Pierre Barouh is very impressive.
By the way, Pierre Barouh is now in Japan. He is playing in many small places in many cities in Japan. As I checked his tour schedule, he has been touring for months in almost every corner of Japan! He is really a traveler, not a tourist.
(Sept/2003)