A Few Dates
1959: Sports journalist for Paris-Presse. Discovery of Brazilian culture in Lisbon, departure for Rio de Janeiro
1961: assistant to director Georges Lautner, then leading role in his film, Arrêtez les tambours
1962: role in La Dérive (Paule Del Sol)
1964: actor in The Glass
Menagerie 
by
Tennessee Williams at the Théâtre de la Bruyère;
joins the filming of D'où viens-tu Johnny; first 45rpm
on AZ records ("Tes dix-huit ans&endash;Le Roman"); writes for and
with Danyel Gérard, "Memphis Tennessee" and "D'accord.
d'accord"
1965-66: filming with Claude
Lelouch of Une fille et des fusils. New trip to Brazil.
Leading role in the film, Arastaô. Recording of
"La Samba Saravah" by Vinicius de Moraes, translated in one night,
with Baden Powell. This song, along with others written with Francis
Lai, are included in Lelouch's film, Un Homme et une
femme during
the editing. Creation of the publishing house, Saravah (no
publisher wanted to publish the songs from the film). During the same
period, writes a few songs: "Les ronds dans l'eau," "La Bicyclette,"
"Vivre pour vivre."
1967-69: Saravah signs Brigitte Fontaine and Jacques Higelin. Production of shows with Niok, Brigitte Fontaine, Art Ensemble of Chicago, at Le Vieux Colombier. At the instigation of Pierre Kast, first film as director in Brazil, Saravah, a documentary.
1970: writes and produces his first full-length feature film, Ça va, ça vient, with Areski Belkacem, Elie Guaguir, le Grand Magic Circus de Jérôme Savary.
1971: invests the Cinéma Ranelagh with Rufus, Brigitte Fontaine, Areski, Jacques Higelin, Baden Powell and the projection of films.
1971: A month of shows at Le Palace with films, the above artists as well as David McNeil, Pierre Akendengué, Nana Vasconcellos and Mahjun. Festival de Vayson La Romaine-Carpentras. "Les Lundis de la Mouff" at the Théâtre Moufftard. The Saravah label sings new artists: Pierre Akendengué, Jack Treese, Aram, Jean-Roger Caussimon, Steve Lacy, Larry Martin, Alfred Panou...
1974: administrative problems
1975-77: Saravah produces the sound tracks of films as well as the first albums of Carole Laure and Lewis Furey. Second feature film, L'Album de famille. "Les Journées de voyage" in Eymet (Dordogne). Concerts with David McNeil, Chic Streetman, Mahjun, Aram.
1978: makes Le
Divorcement with
Michel Piccoli and Léa Massari
1980: produces the first recordings of Maurane. Long stay in Québec with Maurane; several evenings of cinema and song with Québécois musicians (Michel Rivard, François Cousineau).
1981-82: Nippon Columbia
invites Pierre Barouh to record an album with the leaders of the new
stage (Ruiychi Sakamoto, Yukihiro Takahashi, Moon Riders, Yasuaki
Shimizu). Memorable concert in Tokyo for the promotion of
Pollen which
is on the Japanese hit-parade.
1983: release in France of
Pollen and
series of concerts with Japanese musicians at the Espace
Cardin
1984: recording of Sierras, his second album with Nippon Columbia as a follow-up to Pollen. Series of seven concerts in Japan.
1986-93: produces the first record of Philippe Léotard, a duo Allain Leprest-Richard Galliano, the album of A. Fileta (polyphonic Corsican chants). Musical and theatrical adventures with Oscar Castro and Anita Vallejo (Chilean exiles) and their troop, Aleph. Production and presentation of four original plays, written and directed together: Le Kabaret de la dernière chance, La Maison accepte l'échec, La Tralalaviata, Pour que la mémoire du vent retienne nos chansons... Malenke. Realization in Chile of a documentary, On s'aimait tant à Santiago, broadcast by Antenne 2 (on the show, Résistance). Solicited by an experimental Japanese channel, Pierre Barouh realized and edits eight "documents" filmed in high-8 including Les Nuits de nacre (festival de Tulle) and L'Horaire et le temps (document on the encounter of Ken Ogata and Robert Doisneau).
1994-97: Le Kabaret de la
dernière chance is
put on in Japan with a Japanese troop. Pierre Barouh acts and
co-directs. The stage of the Bunkamura theatre of Tokyo is
transformed into a dreamlike set for three weeks. With presentations
in Nagoya, Osaka and Yokohama, Le Kabaret charms
50,000 Japanese! First albums by Fred Poulet, Daniel Mille,
Françoise Kucheida and Gérard Ansaloni. Signing of
Pierre Louki. Retrospective of Pierre Barouh and Saravah at the
French-Japanese Cultural Center of Tokyo: lecture, exhibit,
projections... First album of Bïa and Japanese tour (Tokyo,
Kyoto, Aomori) with Bïa and Daniel Mille, Françoise
Kucheida and Jean-Christophe Maillard. Trip to Cambodia with the
guitarist Eric Guilleton, several concerts in schools. Recording in
Tokyo, Paris, Montréal, Rio and St. Prouant of Itchi go
itchi e (an encounter, an occasion).
1998: production of a new record by Aram, of the first recording of Mami Chan, the Quartet Elan... Release in October of Itchi go itchi e.
Le Pollen
"For I think that there is nothing useless, the wind blows over each word, each gesture without us ever knowing where it deposits them... Ideas propagate like pollen and bear fruit if they bear within themselves the seeds of life."
This excerpt from the text which I
wrote for the Dix ans de
Saravah 
at
Monmartre in 1976 expresses a thought which became concrete in Tokyo
in 1982. Through the passion and the impulsion of a man who was to
become my friend, Naoki TACHIKAWA. Through the openness of Nippon
Columbia and the love of all those who shared in the adventure,
whether from near or far.
1. L'autre rive (Pierre BAROUH)
2. Pepe (Pierre BAROUH/Kazuhiko KATOH)
3. Sans parler d'amour (Pierre BAROUH/Yukihiro TAKAHASHI)
4. Perdu (Pierre BAROUH/Michel RIVARD)
5. La Lettre (Pierre BAROUH/Francis LAI)
6. Le Pollen (Pierre BAROUH/Yukihiro TAKAHASHI)
7. Parenthèses (Pierre BAROUH/Yasuaki SHIMIZU)
8. Les Uns et les autres (Pierre BAROUH/Francis LAI)
9. Saint-Paul-de-Vence (Pierre BAROUH/Francis LAI)
10. Demain (Pierre BAROUH)
11. Boule qui roule (Daniel LAVOIE)
"Since the creation of Saravah, in 1965, I
had only recorded two albums:
Ça va, ça vient
in 1971 and
Viking Bank
in 1976. In admiration in front of
those who were sharing the aventure: Brigitte Fontaine, Jacques
Higelin, Jean-Roger Caussimon, David MacNeil, I occupied the studio
when I was overflowing with songs in order to record, almost ashamed,
in hiding, in a few days. In 1982, Naoki Tachikawa invited me to
Tokyo to make a record with Japanese musicians. Surprised, flattered,
I shut myself away to write some new songs, then left, in the
conception of the'album, a free space which I hoped to fill with a
utopia: write on location with Japanese composers in order to go as
far as possible in the exchange. Leaving with my head full of
clichés, imagining musicians at attention in front of
theirmusic stands, I was welcomed by stars (Ruyichi Sakamoto,
Yukihiro Takahashi, Yasuaki Shimizu...) expecting from me the
disorder which they had decoded in my way of doing things. They
dissipated my humility by revealing to me that for over fifteen years
they had been nourished by Saravah' approach, especially by
Comme à la
radio
and Ça va, ça
vient.
Recording Le
Pollen at
the studio of Nippon Columbia was a privileged moment. It contains
four songs written with, among others, the musicians already cited;
it was in order to prolong the experience that two years later, in
1984, still under the impulsion of Naoki Tachikawa, with the same
enthusiasm, enriched by new encounters, we made
Sierras
a part of which was recorded in
France.
There are two kinds of commerce which have always put me ill at ease: nostalgia for the past, and catastrophic predictions about the future. The same goes for metropolises. Whenece the interest, for me, of a more positive way of looking at things. Need I indicate that the song "Sur le fil" which evokes the Berlin Wall was written several years before its fall.
Sierras
1. Sur le fil
2. Sierras
3. Le Tourment
4. Que viva Villas
5. Le Chirurgien joue du piano
6. Ce jour-là
7. Cœur battant
8. Les Refrains pour les dauphins
9. Chats chiens chats
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Les Editions SARAVAH were created by Pierre BAROUH in 1965. The success of the film Un homme et une femme and of its songs made it possible to produce contemporary poets and musiciens from different horizons. Beyond phonographic production, it is an aventure of creation steeped with a profound ethics. This aventure in the face of the obsessions de profitiability of the multinationals has beencalled utopian for its romantic dimension seemed to condamn it.Yet SARAVAH is today the oldest active European French label.