If you are a jazz fan Web-surfing maniac, you might have discovered the Page d'admiratrice de Louis Sclavis (page of a Louis Sclavis admirer, www.netlaputa.ne.jp~/lili/) Web site. Fully dedicated to the French clarinetist, bass-clarinetist and soprano saxophonist, this site comes complete with photographs, biography, discography, statistics and a schedule of Louis Sclavis Trio's upcoming Japan tour.

The fact that he is able to elicit such an enthusiastic response from his Japanese fans is a measure of the universal appeal of his music.

While not particularly a crowd pleaser, Sclavis, who has a very large following on the European jazz scene, has a definite idea of what his job is. His schedule is accordingly one of the busiest of all European jazz musicians.

When asked why he lives such a busy life, Sclavis answers that he makes music the same way a baker makes bread. And one knows how important bread is for the French!

Since he became a full-time professional musician some 25 years ago, Sclavis has never stopped playing -- with his own successive bands and a wide array of other musicians, from the world of jazz to traditional musicians, techno DJs, hurdy-gurdy singers and storytellers. He also composes for the stage, for dance and for the movies, as well as recording for major music labels around the world.

From a background mix of popular and classical music, Sclavis first started his formal studies at Lyon's Music Conservatory. He soon discovered the world of free improvisation and left music school altogether to join a collective of musicians and various artists. This in turn led him to create his first band.

Refusing any label and rejecting the idea of a European jazz identity, Sclavis is actively trying to widen the concept of improvised music, with the likes of Cecyl Taylor, Paul Motian, Bill Frisell, Fred Frith and many others. Free from classification, Sclavis leaves it to others to represent the "real jazz" or the "true jazz" and declares himself a "musician who plays improvised music commonly called jazz."

His huge success in Europe with his new trio, formed five years ago with bassist Bruno Chevillon and drummer Francois Merville (who will tour Japan starting March 10), comes from the fact that the music resists categorization. Thus it appeals to a great number of people.

The inspiration is mostly French (Sclavis' last recording on ECM is based on music by 18th-century French baroque composer Jean-Philippe Rameau), and the structure is jazz. The music might be highly melodic or entirely improvised.

Bruno Chevillon and Francois Merville, the two other members of Louis Sclavis Trio, are both gifted musicians. Chevillon has been Sclavis' bass player from almost the beginning of his career. Chevillon and Merville have both received a comprehensive formal musical education. They are both still in their prime, but are already among the most requested musicians on the European scene.

Among other ventures, Sclavis began collaborating with photographer Guy Le Querrec in 1982. A member of the press agency Magnum, Le Querrec has been a jazz photographer for more than 30 years. His collaboration with Sclavis has led him to produce shows where music and photography are intimately linked. Le Querrec initiated a project of three tours of African countries with the trio, which led to a book of photographs of the trio taken in Africa and a CD.

The presence of Le Querrec near the stage or behind the curtains in the changing rooms has become a feature of most of the world festivals. His photographs grace the covers of many records, and Tokyo Jazz Action is presenting his first show in Japan. It covers 30 years of his work, with 136 pictures of jazz greats, as well as shots taken in Africa, America (during the Big Foot Memorial Ride), China and France.