Sawa moved to Seoul at two years old, and afterward toward the east shoreline of the United States at 6, because of her dad's evangelist work and studies. At the point when the family came back to Seoul, they had to return to Japan because of political unsteadiness in South Korea. From the age of 8, Sawa got her instruction in Japan, with the exception of one year in the U.S. during her secondary school days.
"My folks communicated in Japanese, Korean, and English impeccably. The language we talked at home normally changed by where we lived," Sawa says. "Whichever nation we moved to, I had the option to live quiet and was pleased with my character. Before being asked, I would present myself with 'I'm a Christian and half-Korean.' Perhaps this was on the grounds that my folks consistently lived with certainty."
Sawa began playing the piano at three years old, and the instrument has been consistent with her. Be that as it may, her tight extent of old-style music on the piano was expanded when she experienced extemporized jazz at a one-week summer workmanship program during her second remain in the U.S. as a secondary school understudy. On coming back to Japan, she got ingested in jazz, shake and pop and effectively executed as a vocalist in a band with her companions.
Before he died during Sawa's secondary school days, her dad asked her not to overlook her confidence and urged her to seek after a profession in music — something she appropriately did.
In 1991, while learning at the division of musicology at Tokyo University of the Arts, Sawa appeared as a vocalist with her first collection, "Tomoe Sings," which was recorded in Los Angeles and created by American performer George Duke.
"I appeared as a vocalist in English. Cool, isn't it?" Sawa says. Her CDs sold inadequately, however, and she before long found out about the business music industry, which she found unsatisfactory.
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