Interview: Jon Broida of Japanese Knife Imports answers my 6 questions


My current knives and accessories

My current knives and accessories

Modern double-bevel knives and serrated bread knife

Modern double-bevel knives and serrated bread knife

Over the years of being an avid home cook, my knowledge of knives has increased from very little to fairly substantial. I would read articles, watch cooking shows, ask questions in stores, and read online forums to collect information. One by one, higher-quality knives replaced my lower-quality ones, and as a result a new dilemma arose - sharpening and maintenance, where I was afraid of causing damage due to not knowing what I was doing. So for a few years I had my knives professionally sharpened, with highly variable results. Japanese knives were already my preference because of their sharpness and geometry as well as the sharpening method of water stones. I was even fortunate to receive my grandfather's old deba (pictured) which was rusted after years in storage but still in good condition. The reason I've turned into a knife geek is because of the tremendous pleasure I get from using these great tools in the kitchen, helping me work with more speed and control. It really makes cooking more fun.

Everything came into focus when I met my knife guru Jon Broida of Japanese Knife Imports in Los Angeles. Jon is passionate about Japanese knives and his company is extraordinary. He has spent many hours answering my questions and sharing his knowledge about the multiple facets of knives and sharpening. Jon's dedication in providing quality information is demonstrated by his invaluable free online video tutorials and product descriptions. Since learning about Japanese Knife Imports, I've purchased every single knife-related item there because their products and customer service are the best I've ever seen.

One of the most valuable things I have learned about Japanese knives relates to the ongoing relationship of the knife, sharpening supplies, and cook. These parts are all interconnected and there is no single correct approach. When I'm cooking, I pay attention to sharpness, durability, blade geometry, and how the knife handles certain tasks. Then I can consider these observations along with the type of metal of the knife while sharpening and adjust to suit my preferences. The next time I cook, I'm able to start the cycle again of deciding how the knife feels. The sharpening step could be done by someone else, and an excellent sharpener like Jon would be able to accommodate the cook's specific requests.

Traditional single-bevel knives (top three) and modern double-bevel knives (bottom two)

Traditional single-bevel knives (top three) and modern double-bevel knives (bottom two)

Another thing that changed my concept of Japanese knives was learning to use and sharpen traditional single-bevel knives. The three most common in this category are usuba for vegetables, deba for fish butchery, and yanagiba for slicing. Like so many things, studying the traditional roots gave me key insights into modern double-bevel Japanese knives. The single-bevel knives take more time and effort to learn, but the knives increasingly perform better as you acquire the skills to use them. Although not very versatile, they excel at doing what they were designed to do. I see a direct parallel in my own field, where a modern taiko player can deepen their own understanding and perspective by experiencing and studying the way their instruments were used in traditional settings.

Of course, the average cook does not need the assortment of knives and accessories in these photos. But for those who are looking to learn more, I asked Jon 6 questions about Japanese knives. I was thrilled and honored when he provided detailed answers to help us understand the most important points. I'm sure that Jon's responses below will illustrate his passion and dedication, and I highly recommend everyone visit his website and check out his sharpening and product videos.

Japanese Knife Imports website

Japanese Knife Imports youtube videos


1. How did you get into Japanese knives?
I guess it's kind of a long story of how I got into Japanese knives. I've always been fascinated with Japanese culture as a function of Japanese food being one of my favorites. This is actually what led me to get a degree in Asian studies when I attend college. As part of my studies, I spent a significant amount of time studying Japanese food. I even went as far as to write a thesis on a particular type of Japanese food-sukiyaki and shabu shabu. I think it's almost inevitable that if you study Japanese food you end up learning about Japanese knives, since skill and technique is such a large part of what makes Japanese food so great. While attending college, I started cooking professionally. This only amplified my interest in Japanese knives, and I soon found myself using primarily Japanese knives at work. Sometime later, I had an opportunity to cook in Japan. While training there, I asked my chef to teach me about sharpening and knife skills relating to the two Japanese knives. This was the beginning of my obsession. From there it grew and grew, and eventually became the business that I run today. Now, I have the opportunity to train in Japan the crowds and make these knives every year. Being able to see both the craftsmen side of the knife making process as well as the end-users using their knives and professional kitchens is something that I find extremely interesting.

2. What are some advantages of Japanese knives?
Japanese knives tend to be thinner and harder than their Western counterparts. There are some benefits to this, as well as some costs. Because Japanese knives tend to be a lot thinner, they move through food with much less resistance. For many people, this means that they feel sharper. However, being thinner also means that they lose out in structural stability a little bit, and are much more prone to chipping and similar damage. Being harder translates into Japanese knives holding their edge for a longer period of time and being more capable of holding acute angles. The acute angles translate into a generally sharper feeling. However, the trade-off for these things is that as the knives become harder, and as we sharpen them at more acute angles, they are more brittle, which contributes to the chipping problem previously mentioned. So, in some cases Japanese knives can be excellent, assuming that the knife skills, care, technique and use, and maintenance all come together to support the use of Japanese. One other interesting thing about Japanese knives is the way that the knife makers approach the heat treatment process. Japanese knives tend to be very finely grained, and the heat treatment is geared more towards grain fineness and edge retention than toughness and durability, which is in stark contrast to the kinds of heat treatment we see from knife makers in the Western world. Japanese single bevel knives have the benefit of being much more acute in terms of their overall angle, and having a unique cross-sectional geometry that provides a cutting experience unlike anything else. Most Japanese single bevel knives are designed for very specific tasks, and when used appropriately for those tasks, they are excellent. However, as general use knives, they are rather clumsy and difficult to use. For example, a deba is probably my favorite knife for breaking down fish, but it makes a very poor chef's knife.

3. Which knives do you recommend for someone new to Japanese knives?
In general when people come to Japanese knives for the first time, it's my tendency to recommend to them something that is stainless and relatively tough and durable within the scheme of Japanese knives. There are many carbon steel Japanese knives (which means that they are prone to rusting and can be reactive with acidic foods), but in the beginning, as people are learning about how to use and care for Japanese knives, I prefer to minimize the kinds of things that they have to worry about so that they can focus just on cutting technique and basic sharpening. The type of handle that I might recommend depends predominantly on end-user personal preference. I personally tend to prefer Japanese style handled knives, but there are many who still prefer Western-style handled knives. Japanese-style handled lives tend to be lighter overall, and have a more forward heavy balance. Western-style handled knives tend to have a balance point more near to the poster and are generally have your overall. I will often recommend one big knife and one small knife. The big knife is more often than not a gyuto, while the smaller knife is generally a petty knife. Size wise, the larger knife will often run from 210 mm to 270 mm, while the smaller knife will often be around 150 mm. One of the brands that I recommend most often from the knives that we carry is the Gesshin Uraku Stainless Series. They are exactly what I have described above - lightweight, stainless, tough and durable, and come with a Japanese-style handle and a very Japanese-style profile. They also happen to be rather reasonably priced, and I think that it's important to start off with rather simple things and learn how to use them before moving on to higher and things. It's my experience that the more money you spend on things, the more that is required of you as an end-user, skill wise and experience wise, in order to use, care for, and get the most out of that item.

4. What other tools and accessories would you recommend?
There are a number of other tools that might be helpful for people getting started with Japanese knives, but again, I like to keep things as simple as possible. I think that a big knife, small knife, and a very basic sharpening set up is probably everything that people need to begin with, and is often more than enough for people forever. In a complete sharpening set up one might have the following things:
    •    A good coarse stone (from about 220 grit to about 600 grit, although a little bit lower or little bit higher is not the end of the world) - this stone is used for major repairs, chips, extremely dull knives, thinning, etc.
    •    A good medium grit stone (from about 800 grit to about 2000 grit) - this stone is used for day to day sharpening, and can also be used for minor chips, minor repairs, and is often the place most people begin their sharpening routine.
    •    A good finishing stone (from about 3000 grit to about 8000) - this stone is used to give your edge a little bit more refinement, make the burr removal process a little bit easier, and improve the aesthetic finish of the edge.
•    Something to hold the stone in place - as simple as this sounds, this is actually very important. Although this doesn't need to be fancy, there are extremely fancy setups out there for this. This can also be as simple as a damp towel on the corner of your countertop, holding the stone in place ensuring that it's a stable base for you to sharpen on while you're moving a sharp object over it repeatedly. Fancier stone holder setups will also provide additional stone height, which can help create knuckle clearance. They may also offer some kind of solution for collecting the mess that occurs during sharpening, which makes cleanup easier at the end of the day.
    •    Something to keep your stone flat - as we use the stones, they tend to dish. Having a stone that does not have a flat surface makes it extremely difficult to maintain a consistent angle. Maintaining a consistent angle during sharpening is one of the most important things that we can do during sharpening. Keeping our stone surface flat is a large part of that. This, again, can be a rather expensive solution, or something almost entirely free. For example, I use a diamond flattening plate to keep my stones flat. They run about $65. On the flipside, one can use the sidewalk in a pinch, or wet/dry sandpaper inverted so that the grit is facing up. With the sandpaper laid down on a flat surface, and the grid facing up, one can rub the surface of the stone on the sandpaper to flatten the surface of the stone. If one has carbon steel knives, a rust eraser and camellia oil might also be helpful.

5. What are some common mistakes people make with Japanese knives?
I think there are two main areas where common mistakes occur - knife skills and sharpening problems. The knife skills required when using Japanese knives differ slightly from those used with German knives or other Western knives. Because the knives are so much thinner and harder, the rocking motion that is often taught tends to actually cause damage to Japanese knives. We use a thrust cutting motion that pulls the entire edge of the blade off the cutting board during each cut, which minimizes lateral force exerted against the edge. The main causes of damaged Japanese knives are as follows: hitting extremely hard things, hitting things with excessive force, and lateral force exerted against the edge. The knife skills that we use with Japanese knives try to minimize these things. With regard to sharpening, the biggest mistakes that I often see are not forming a burr, not getting rid of the burr once it has been formed, or forming an inconsistent burr over the length of the knife, causing the profile to change over time. Carbon steel knives can also often present problems for people. Not cleaning and drying them properly can cause the knife to rust. And, when working with acidic foods, not wiping off the blade periodically will result in both the blade and food oxidizing significantly, causing color, taste, and smell changes to the food, and rapid patina development on the knife.

6. How can people learn more about Japanese knives?
Nowadays, there are number of ways that people can learn about Japanese knives. There are a number of online forums that provide great resources. There are also books available in English as well as a number of videos on YouTube. For instance, we have about 3 1/2 hours of videos covering every topic that one might need to know about knife sharpening available on YouTube. Between all of these resources, it's rather easy to get out there, ask questions, and get a good idea of where you might want to start personally. Also, I try to make myself personally available to people as much as possible so that I can answer questions and help people get started with Japanese knives. As a function of our day-to-day business operations, we probably spend more time educating and teaching people than anything else.


About Jon

Jon Broida of Japanese Knife Imports

Jon Broida of Japanese Knife Imports

I graduated from Colorado College with a Bachelor’s in Asian Studies. About a year before I graduated, I decided that I wanted to give the restaurant business a shot. On my breaks from school, I interned at various fine dining restaurants in Los Angeles as a cook. Eventually, people started paying me to cook, and I stuck with it for a while. I have worked at some very highly regarded restaurants in the Los Angeles area, as well as in Japan and Italy (at a one star Michelin restaurant). While in Japan, I learned about Japanese kitchen knives... the different kinds, how to use them, and how to care for them. Up until that point, the best knife I had ever used was a MAC (which is worlds better than the german knives most cooks are using). My chef in Japan bought me a Masamoto knife (a carbon knife, the likes of which i never had used before). From that point I have never looked back. Over the years, I have tried many knives and waterstones, and experimented with many cutting and sharpening techniques. Now days, I continue to train... however, now I train with talented craftsmen and chefs in Japan every year. With sharpening, I have the opportunity to train with who I believe to be the best sharpeners in Japan. I also spend time with some of the top blacksmiths in both Sakai and Sanjo (as well as many other places).

Good earplugs are essential for drummers

Photo from Etymotic.com

Photo from Etymotic.com

As a longtime drummer, hearing protection has been a critically important issue for me. Hearing loss and tinnitus (high-pitched ringing of the ears) are very real consequences of repeated exposure to loud sounds. Even today, the mechanics of how our hearing changes are not fully understood, and there are currently no cures for hearing loss and tinnitus. This means that protecting our ears is the only thing we can do to help prevent future problems. We are lucky to be living in this time of increasing awareness and a variety of options for hearing protection. I highly recommend all musicians look into this.

When I arrived to Central Michigan University in 1995 as a first-year music student, I was told that all percussionists in our studio were required to purchase musician's earplugs. This type is custom molded to the ear and uses interchangeable filters which lower the volume without changing the balance of frequencies. At $100 – $200 per pair, it is not a cheap option, especially for a young college student. Yet having these earplugs turned out to be one of the very best investments of my career. Twenty-one years later, I am still using them (I'm on my second pair) for practicing, rehearsals, performances, and any loud environment.

Photo from Etymotic.com

Photo from Etymotic.com

In workshops, I often bring up the topic of hearing protection, and I've been seeing more and more people using earplugs over the years. My first recommendation is to look into the universal fit high-fidelity earplugs by Etymotic. There are other companies making similar products but Etymotic is the one I am most familiar with. At around $12 per pair, these earplugs have the same type of filter as the musician's earplugs. Unlike the cheaper foam, rubber, or wax earplugs, the hi-fi plugs allow you to hear more accurately with a reduction of around 20 dB. Hearing clear music and conversation keeps everyone using earplugs rather than taking them out in order to hear better (completely defeating the purpose of earplugs).

Musician's earplugs are well worth the effort and price tag to purchase. They are comfortable, nearly invisible, and can be customized with interchangeable filters for various situations. The first thing you need to do is to find an audiologist in your area that offers musician's earplugs. For my current pair, I went to Hawaii Professional Audiology in Honolulu. I chose this place because they were used to serving the Honolulu Symphony musicians. When you go in for your appointment, a foam material is used to take your ear impression, which then gets sent to the company making the earplugs. While I recommend this option to almost everyone, there are two situations I can think of where you might want to wait. The first is if you are going through significant weight change, which would likely affect the fit later on. The second category for waiting is younger people who are still growing, for the same reason.

There might be an element of old curmudgeon-ness involved, but I feel like loud volume situations are increasing everywhere: concerts, movies, earbuds, awful restaurant acoustics, TV commercials, and so on. I always keep my earplugs with me and am constantly grateful for this technology. After thirty-plus years of drumming, I feel fortunate that my hearing is in relatively good condition. Without a doubt, consistent use of hearing protection over the years is the biggest reason.

1990 Modern Drummer Article: An Occupational Hazard

Interview: Manman (Yeeman Mui) talks teaching kids, Orff, and taiko

I first met Manman (Yeeman Mui) during Kyosuke Suzuki sensei's Summer Taiko Intensive in 2011. She is now teaching and performing at the Taiko Center of the Pacific in Honolulu, where we performed together during my recent Hawaii trip. A certified Orff instructor, Manman is becoming known as a taiko teacher specializing in young children. In addition to offering classes at Asano Taiko US in Torrance, she is an active performer involved in multiple projects such as Spall Fragments, the upcoming production by Joe Small. Manman kindly spent time with me to talk about her background, Orff training, working with kids, incorporating dance and body percussion, and her current projects. I would encourage everyone to check out the links below for examples of what we talked about in the interview.


Yeeman Mui (aka Manman) Originally from Hong Kong, Manman graduated from the University of Hong Kong in 2010 with an MPhil in Musicology. She is a dedicated taiko practitioner, performer and teacher. Since becoming a certified Orff instructor, her vision is to continually find new ways to celebrate the essence of teaching of taiko through the mind, body and spirit. In 2012 and 2013, she was awarded a fellowship to study with Kenny Endo at the Taiko Center of the Pacific (TCP). Since then she has been working as a performing member and teacher at TCP. Outside of TCP and Hong Kong, She has also taught at the Los Angeles Taiko Institute (LATI), curated the Youth Program at the North American Taiko Conference in Las Vegas 2015, and conducted a series of music teacher workshops in Macau 2015. 


Hawaii trip: finally back for a visit to teach and perform


Flying in over Diamond Head

Flying in over Diamond Head

West Oahu

West Oahu

So many gifts - only in Hawaii

So many gifts - only in Hawaii

I had a fantastic week during my visit to Hawaii. It was hard to believe that I hadn't been back in over seven years, but it quickly felt like I had never left. The average tourist could easily focus on the great weather and spectacular scenery of the islands, but the things I really missed had to do with the daily-life culture there - the generosity and openness of people, along with an easygoing feeling that cultivates time to get together and talk story. Although this was mainly a work trip, these were the things that made my visit possible and so memorable.

The first workshop I taught was for Taiko Center of the Pacific. I started as a student of this taiko school when I moved to Honolulu in 2001, and then eventually became an instructor. This workshop was titled "Pulse, Ji, and Ensemble Playing" and I asked the participants to try my exercises dealing with tempo control, dynamics, following the leader, and producing a consistent sound. I was very pleased with how well everyone played together despite having a wide mix of experience levels. The second TCP workshop I taught was for the youth group. The requested topics included soloing and ensemble playing. When I asked each member what they were interested in covering, the top two answers were to be able to play tighter with the ji (accompaniment) and to create more unique and memorable solos. Everyone could already play well so it was fun working with the students and seeing them adapt to the new concepts I introduced. A huge thank you to Kenny, Chizuko, Brock, Terri, and everyone at TCP for inviting me and putting together the workshops.

Taiko Center of the Pacific workshop

Taiko Center of the Pacific workshop

TCP Youth Group workshop

TCP Youth Group workshop

Ryugen Taiko workshop

Ryugen Taiko workshop

I was happy to work for the first time with Ryugen Taiko. They requested a composition workshop and it was great to have three hours to spend discussing topics such as inspiration, form, notation, dynamics, and analysis. I enjoyed the energy of this group and look forward to seeing their original compositions in the near future. Thank you to Nolan, Greg, and everyone at Ryugen Taiko for the wonderful hospitality and interest in my workshop.

My final workshop of the week was for my good friends at Nakama, a very special group who I usually catch up with during taiko conferences. Saying they have fun is probably still an understatement, and the laughter is absolutely infectious. There was no preplanned workshop topic but we ended up working on Keith's original piece. I liked having the opportunity to learn the patterns and then find ways to make the music speak more clearly, especially for the sections where there are multiple parts happening at the same time. After the workshop, our party continued over dinner at a nearby Okinawan restaurant. Thank you so much to Dee, Keith, John, and the Nakama family for an unforgettable time.

Post-workshop dinner with Nakama folks

Post-workshop dinner with Nakama folks

Amazing view from my homestay

Amazing view from my homestay

On the morning after my arrival, I was trying to sleep in to counteract my jet lag when a text message arrived asking if I was available for a performance starting in one hour. I said yes and rushed down to the chapel at Kapiolani Community College for a lecture demonstration with Kenny Endo and the TCP ensemble, pulling in 5 minutes before downbeat, just enough time to change and hear the setlist. Everything came back to me, including how to wear the costume and the repertoire which I hadn't played in almost 8 years. While this one was a surprise, I actually knew about another performance happening on the weekend. It was a wedding gig at one of the big Waikiki hotels, something I had done many times while living in Honolulu. This one felt like a luxury, as there was a rehearsal and extra time to hang out with the ensemble members. Thank you to Kenny and Chizuko for including me in these performances.

Arriving at KCC chapel for a last-minute performance request

Arriving at KCC chapel for a last-minute performance request

Pre-performance hangout at Waikiki hotel

Pre-performance hangout at Waikiki hotel

This trip was a success because of the generosity of my friends, who provided me a place to stay, lent me their car, didn't let me pay for any meals, booked workshops, and provided an unlimited supply of helpfulness. Thank you so much to Kirstin, Dee & Keith, Kenny & Chizuko, Terri & Glenn, Brock, Nolan, Miles, Eric, Ai, and all of my friends in Hawaii. I will be back very soon!

A must visit for fresh udon

A must visit for fresh udon

Tropical shapes and colors

Tropical shapes and colors

Nico's and Uncle's on Pier 38 for great seafood

Nico's and Uncle's on Pier 38 for great seafood

Another Hawaii institution

Another Hawaii institution

Ranjo, master Japanese bamboo flute maker, with Daniel and Kaoru


photo credit: Daniel Torres

photo credit: Daniel Torres

Ranjo flutes I'm currently using

Ranjo flutes I'm currently using

My first experience with a Ranjo shinobue (horizontal Japanese flute made from shino bamboo) was more than 10 years ago, when I bought a number 6 flute from Kaoru Watanabe. I started playing fue seriously upon moving to Honolulu in 2001 for graduate work at the University of Hawaii and to play taiko with Kenny Endo. Since that initial introduction, my fue collection has grown and I have had the opportunity to visit Ranjo san's workshop multiple times. Visiting him is always a wonderful experience, not only because I can play and handpick any flute in the shop, but especially because of the opportunity to see him work, ask questions, and experience his warm enthusiasm and complete dedication to his craft. My musicianship has grown largely due to Ranjo san's high-quality instruments and knowing him personally. Kaoru also continues to support me and provides constant inspiration. He introduced me to Daniel Torres last year because of our common interests, and I wanted to feature his thoughts and photographs on this blog. I asked both of them 5 questions.


Daniel Torres interview

photo credit: Daniel Torres

photo credit: Daniel Torres

When and where did you first meet Ranjo san?
I met Ranjo san for the first time on June 2013, thanks to Kaoru san, who was kind enough to make the necessary introductions. I spent a whole day photographing him at his workshop in Chiba. 

What makes his flutes special?
There are at least two things that make Ranjo san's flutes special. First, his hearing and sense of tuning is extremely accurate, and since the tuning of a fue is done by hand, he has the required skills to create very precise instruments. Second, his craftsmanship has been perfected over more than forty years of practice, so there is almost no compromise between form, aesthetics, and function. Ranjo san is quite ingenious when it comes to his crafting techniques and he is constantly improving upon his own designs. Kaoru can describe some of this better. 

How can someone order a Ranjo fue?
I believe Kaoru san is the only person that sells Ranjo fue in North America. In Tokyo, you can go to Mejiro (a well known shinobue and shakuhachi store located near the station of the same name) and place an order.

What advice do you have for fue students?
Practice every day. There is no substitute for dedication and discipline. It is going to take a long time, it is going to take a lifetime. Sometimes it will be frustrating, but every now and then you'll have moments when it will be clear that you are going somewhere. Get used to playing in public as early as possible. Look for a mentor that can correct your technique as often as possible.

How can people learn more about Ranjo san?
Through Kaoru, perhaps? That is a bit of a difficult question. People who play fue know Ranjo through his craft, but to get to know him personally, you'd need to have access to him. Ranjo san is an amazing person, extremely generous, humble, and easy going. Perhaps some day we could convince him of doing a talk about his own life as a fue maker?

Daniel Torres

Daniel Torres

About me: 
I'm a video game programmer, sake brewer, and occasional photographer. I've been studying fue for about three years so far, and played Taiko for about ten years as member of Kita no Taiko in Edmonton, Canada. My photography page can be reached at http://photography.dantorres.net, and my sake blog is http://sake.dantorres.net.


Kaoru Watanabe interview

photo credit: Daniel Torres

photo credit: Daniel Torres

When and where did you first meet Ranjo san?
I met Ranjo san the first time while I was on tour with Kodo in the early 2000. Either I visited his studio as a young member of kodo or perhaps he came to the concert hall where we were performing. 

What makes his flutes special?
The quality of material, the quality of craftsmanship are, first of all, superior to other flutes. He does certain things while making his fue that most others don't do - such as obsessing over the intonation of the overtone series and octaves. He has a curiosity and love of experimentation that propels him to improve upon his technique, even after nearly four decades of making fue. He once recreated a Polynesian nose flute I showed him but using aged bamboo and Japanese urushi. 

How can someone order a Ranjo fue?
Contact me if you don't speak Japanese or contact him directly by phone or letter. He is a very friendly person. Also, his wife and daughter both speak a bit of English as well. 

What advice do you have for fue students?
Listen to and try to imitate as many different styles of fue playing you can, even if you don't know what's going on. Listen to the music of noh, gagaku, kabuki, minyo, nagauta, various festival and folk musics, and shakuhachi music. This all of course is if you don't have access to someone who knows about traditional fue playing. Don't worry as much with the music of contemporary taiko groups in my opinion. It's difficult to make the shinobue sound like a Japanese instrument, as opposed to a vaguely "Asian" sounding instrument - so I strongly encourage people to study and listen to the traditional music (if that's what they're trying to do).

Kaoru Watanabe

Kaoru Watanabe

How can people learn more about Ranjo san?
Just like studying Japanese music in general, nothing can compare to going to the source. To visit his workspace is to see first hand what it means to strive for pure perfection. To see him make fue and ask him questions about the process is always incredibly inspirational to me. I've had lessons and worked with many of the great fue players around but I've learned from him as much as any of them. His generosity and support of my career cannot be overstated. I have vowed to continue to strive to improve my playing with the same fervor that he strives to improve his fue. 

Kaoru's website


2010 visit to Ranjo workshop

2010 visit to Ranjo workshop

2013 visit to Ranjo workshop, with Shoji, Maz, Yasuo

2013 visit to Ranjo workshop, with Shoji, Maz, Yasuo