TAEKO

As I sat down,I was awe struck by a singer named Taeko. Not only was her voice beautiful and unique but her band of Gaku Takanashi, G Earl Grice,and Lou Rainone was swinging and great. Lou is a world class soloist and Gaku and Earl have a pocket of grooves that were right on target -they are some of the best players I have had the pleasure to hear in a while. They are as great as anyone on the scene as well.

In a world of singers-and female vocalists Taeko Fukao stands tall. She can sing the melody as beautifully as possible, and gives herself to the listener with the only intent being as sincere and honest as she can be. She is on deep musical terms with her audience, that shows her essence as a fantastic person as well. It is then that people really listen to what you have to say as a musician-and this is what separated Taeko from the dozens of vocalists today. People sense total honesty and sincerity more than anything in her scat singing, she is a great soloist and tells a great story in her solos. I really loved the sound of her voice on " Infant Eyes", not only was it sensual and rich but also she knows what makes a ballad a ballad.You can hear she has studied the great instrumentalists. Her phrasing is out of sight, and I'd say without hesitation she is one of the most gifted jazz singers of this era. That's right, one of the MOST gifted jazz singers of this era. She certainly had the tools - effortless vibrato, broad range, matchless phrasing, imaginative solo technique - to match any instrumentalist.
Lastly-Do you want to know what real vocal jazz is all about? Do you want to listen to a lady who has class, and has vocal chops to back it up? Look no further.Taeko's style is so perfect and crystal clear that anybody who loves good singers will really enjoy giving her a listen. Her ability to deliver a tune with a jazzy soulful style impresses me greatly;Taeko's's sophisticated phrasing combined with her timing made her singing very, very special. In addition, she has excellent players in her trio. She is the real deal-and truly deserves world class attention in the world of jazz.


At Cape May Jazz Festival she sang passionately and her ability to scat never ceases to amaze me. She enjoyed an excellent rapport with her adoring audience and she possessed an internal charisma that shines through all her material.

She's got a fan for life here- check her out and you'll hear what I mean.
~ Tim Price - Tim Price, Saxophonist/Educator/Faculty at New School University

As Executive Director of the Friends of Cape May Jazz, Inc. I have the privilege of listening to the music of artists performing at our scheduled Bank of America Cape May Jazz Festival. Prior to this festival one artist caught my attention and that artist was a Japanese Vocalist named Taeko. After listening to her CD I knew that I had to make sure that I attended her performance. Upon arriving at Carney’s Other Room on the first night of the Cape May Jazz Festival I was surprised to find the venue filled to capacity. As I walked to my reserved table I was not only taken back by her physical beauty, but by the beautiful sound of her voice and her strong presence on stage. As I listened to her sing I could hear sounds of Ella Fitzgerald and maybe a touch of Sara Vaughn. Her onstage presence was a clear indication that not only was she singing the song but she became part of the song, which is a clear sign of a truly gifted and talented performer. Further strengthening her presence was the band backing her. Taeko’s impact on the audience was also obvious since no one left the room until she completed each of her three sets. During and after the festival ended many people asked me if Taeko would ever return to the Cape May Jazz Festival; my response was short and simple……I can guarantee that Taeko will indeed return to the Cape May Jazz Festival!”

Salvador A. Riggi Jr., Executive Director
Friends of Cape May Jazz, Inc. - Salvador A Riggi Jr., the Executive Director of the Friends of Cape May Jazz, Inc.

She shares one of her most promising vocal qualities – the ability to be part of the band rather than just the singer out front – with the greats. - Piers Ford, June 2010

It's immediately obvious that Taeko has surrounded herself with quality talent. For instance, her vocal coach Juanita Fleming who has shapen this native of Japan, Kaeto was born on the outskirts of Kyoto and was raised speaking Japanese, into a creative singer whose voice yields few, if any, clues to her heritage.

VOICE - her second full length CD, like her debut One Love, offers a wide variety of tunes to help accent her impressive range from line to line. This is smoooooth contemporary jazz with crystal clear execution. From songs of Herbie Hancock, Thelonious Monk, Marvin Gaye, and Duke Ellington Taeko adds traditional Japanese folk tunes all performed in her distinctive style. - WHUS FM Radio

When I first came in contact with the music of Taeko, I was enamored with her ability to stretch sound and work normal-sounding notes into waves of bending, meandering tone. Her sense of timing, too, was thrilling.

With Taeko’s latest release, appropriately called Voice, she evolves through her range and proves to be almost provoking in the ways she plays with the boundaries of singing. Bearing influences from Anita Baker to Ella Fitzgerald, Taeko’s work feels couched in Japanese traditions initially and branches through to the best in American and international jazz.

Voice finds her delivering a sassy string of confident numbers. She walks through the work of Herbie Hancock and Marvin Gaye adventurously and tacks on amazing renditions of traditional Japanese folk music to supply the expected curveball.

Taeko was born and raised on the outskirts of Kyoto and found early inspiration from the Japanese music played by her grandfather and father. She developed an interest in jazz in Japan and moved to New York in 1998 to dig deeper into the art form. Taeko has performed at a number of festivals and shows around the world, most notably in New York at the Women in Jazz Festival and as a headliner at the Newburgh Jazz Series.

As mentioned, Voice is a record that illustrates her evolution as an artist. Taeko’s energy is an unbridled as ever and this proves freeing as she takes chance after chance through these pieces. It’s as though she’s been set loose by her confidence, granted permission to toss out the rulebook.

Taeko’s delivery on Hancock’s “Cantaloupe Island (Get Up)” is funky and polished. She holds notes elegantly, blowing through an extensive range that simmers handily into the bebop “I Mean You.”

After drawing out the New Yorker lurking within, Taeko takes a more personal road with the lovely “Spring Nocturne.” Unfortunately too short, the piece, written and composed by Taeko, is a glimpse into the singer’s Japanese heritage. It is elegant and intimate, making for one of my favourite tracks on the album.

Then there’s the engaging Wayne Shorter piece “Infant Eyes.” Featuring emotionally gripping lyrics from Doug Carn, the piece allows Taeko the self-determination to test the limits of her range.

Voice is a record of growth, telling the story of an artist developing and coming into her own. Taeko’s voice is akin to a powerful weapon in many ways and her ability to handle the nuances and strengths of her weapon is improving and growing with each moment of her fascinating, exhilarating career. More than anything else, Voice solidifies Taeko as an artist unafraid of taking chances.

Read more: http://blogcritics.org/music/article/i-hear-sparks-taeko-voice/#ixzz0wFNLkhh9
- I Hear Sparks

Sure, lyrics are important, but the voice and how it is used are what really matter in jazz singing. As a case in point, Japanese jazz vocalist Taeko performs two equally engaging versions of the Japanese folk song “Biwako,” one in its original language and a bonus rendition in English translation, on her latest CD, Voice. A diverse selection of American and Japanese standards, Taeko (often billed sans surname of Fukao) launches her latest release this Wednesday at the Kitano.

Voice opens with a very funky version of Herbie Hancock’s “Cantaloupe Island (Get Up)” arranged by drummer and longtime musical collaborator Doug Richardson to showcase Taeko’s vocal range. Indeed she has a strong, full voice and crystal clear articulation. For an immediate change of pace, it is followed by Thelonious Monk and Coleman Hawkins’s “I Mean You (You Know Who).” Obviously not one to back down from a challenge, Taeko easily navigates Jon Hendricks’s idiosyncratic lyrics, adding some satisfying scatting of her own.

However, the highlights of Voice come from Taeko’s native Japan. Even without an understanding of the lyrics (which actually address life in a Chinese village), her performance of “Soochow Serenade” is striking for its elegance and sensitivity. The way she caresses the lyrics of the Japanese hit from the 1940’s is a true pleasure to listen to.

There is a similar lyrical romanticism in the one original of the set, Taeko’s brief but evocative “Spring Nocturne.” Her translation of the Japanese folk song “Biwako,” which concludes the CD, is also smooth and seamless. Both versions are pleasingly catchy, bringing out the rich tone of her voice. Though both have a nostalgic feel, the English adaptation is much funkier, with the Greg Lewis’s organ replacing Lou Rainone’s acoustic piano, whereas Richardson’s concise melodica solo adds wistful texture to the earlier Japanese take.

For this outing, Taeko shows a preference for contemporary standards over Great American Songbook repertoire, but she dramatically interprets Ellington’s “I Didn’t Know about You” with the effectively spare accompaniment of guitarist Kevin McNeal. Despite her evident affinity for 1960’s and 1970’s soul music and soul jazz, Sly Stones’s “Stand!” does not prove to be a particularly amenable vehicle. By contrast, Stanley Turrentine’s “Sugar” is totally in her power zone—a sultry and soulful standout track.

Tackling diverse material with disarming style, Taeko displays all kinds of vocal chops on Voice. It is a winning session, with a set list that should appeal to a wide range of listeners. Recommended in live performance as well, she celebrates the release of Voice this Wednesday (6/16) at the Kitano. - J.B. Spins

TAEKO FUKAO/One Love: In which we find the Japanese songbird staking more of her claim to the Big Apple with a charming set of standards that shows her love of jazz and world sounds. Adding her own new, special sauce to the familiar, Fukao delivers a pleasing and pleasant session that wasn’t made to be a barn burner but was made to be a comfortable stopping point when you want a cool, audio getaway. On the money throughout, jazz vocal fans are sure to enjoy this one.
(Flat 9)

Volume 31/Number 79
January 18, 2008
MIDWEST RECORD
CHRIS SPECTOR, Editor and Publisher
©2008 Midwest Record
- MIDWEST RECORD

Amid the strong musical signature of her great jazz trio, chanteuse 'Taeko' takes us on a vocal journey of mainstream jazz.
She delivers her vocalise in a deceptive yet viable manner.........Holding our attention while she explores her tunes melodically & harmonically.........Taking advantage of all the deft things a solid voice is capable of. Taeko reveals a warm, elegant, cultured, & lovely vocal tone.........Plus, she is a gutsy interpreter of our belove American Songbook as she cycles confidently through her material. My prediction is that her future experience will certainly define & bode well for what will ultimately become her individual & unique vocal style as time passes.

George W. Carroll
The Musicians' Ombudsman
- The Musicians' Ombudsman

An amazing singer who bills herself as a Japanese songbird, jazz and R&B vocalist Taeko Fukao has been performing and producing charming jazz vocal albums in New York for the past decade. "One Love" is Taeko's fourth release and perhaps the best so far. Presenting passionate interpretations of various pop and jazz standards from the song books of such legendary composers as Antonio Carlos Jobim, Johnny Mercer, Johnny Burke, Jimmy Van Heusen and Bob Marley, the music is light, jazzy and exceptional.

Recorded in three different sessions between April of 2006 and March of last year, each session uses a different cast of musicians which include Misha Tsiganov, Harry Whitaker and Doug Richardson sharing the duties on piano. Gaku Takanashi and Dwayne Burno play bass while Richardson mans the drums on all but a couple of tracks.

What is unmistakably noticeable from the outset is the lady's vocal command and lush deep voice that reaches with ease. Just listen to her seductive interpretation of Jobim's classic "Dindi" and you?fll be swayed. The knock out tune here is the melodically-rich
"Would You Believe" where the lady hits the high notes and caresses the lyrics with tasteful elegance.

Taeko voices a quick rendition of "It Could Happen To You" displaying her ample scatting skills which she repeats on other selections like on Frank Loesser's "I've Never Been In Love Before." For an unusual treat, you need to listen to "Hoshi-no Love Letter" and hear the vocalist sing in her native Japanese then lend your ears to the tune "Trav?flin Light," to hear a beautiful love ballad sung to the heart.

Definitely one heck of a jazz singer, Taeko Fukao's graceful approach to the music leaves quite an impression on "One Love." Armed with a beautiful voice and range, this is one lady of jazz who knows how to carry a tune and make it come alive.

Year: 2007
Label: Flat Nine Records
Artist Web: www.songbirdtaeko.com

Posted on January 26, 2008 - Edward Blanco /ejazznews.com

Taeko's music is excellent. Her version of "Dindi" probably has Jon Lucien smiling wherever
he is in heaven. And "Hoshi-no Love Letter"is one of the most beautiful songs I have heard in awhile.
- Lamon Fenner/WHCR 90.3FM, The Voice of Harlem

A fans artistic ingestion of a vocalist’s performance has, in some way, to do with the backdrop. For a rising vocalist, a live performance creates a technical and emotional euphoria that, in many cases, escapes the studio setting. Such is the case for jazz vocalist Taeko Fukao, as she pierced into the psyche of the crowds, adorning Bushnell Park in Connecticut. The pulse of that July performance warmed the masses and created a genuine compassion for her unique expression of an ever-evolving jazz interpretation. This is a common thread in the Taeko concert circuit.

Opening the evening with a vibrant arrangement of “On a Clear Day” was nothing short of a strategically controlled accomplishment. Taeko’s savvy approach to an arrangement offered the fandom, an easily embraceable composition. Evident was the showcasing of her intellect for understanding the live audience process. The reaction from the audience was unswervingly receptive and echoed her own vibrant rhythm, not only within her momentum but theirs as well. It took little time to climb aboard and absorb her emotional sway but once captured, they sat…glued to every note.

The reactions were poignant as the evening progressed. Taeko was accompanied into the Bushnell stage by pianist Lou Rainone, bassist Gaku Takunaski, and drummer Doug Richardson with a strong confidence in their own honed craft. Each craftsman seemed to deliver their charismatic expertise however at the same time, enhancing Taeko’s signature vocal galaxy. One of the most enjoyable parts of the evening was her interaction with her band and audience. Seldom do you see such tenderness driven in both directions. In between cuts her extroverted banter was so inspirational. One might inject that she expressed a polished poise; I will state simply as... Taeko being Taeko…

Sammy Cahn’s “You Taught My Heart to Sing” was her way into the audience’s psyche. Her angelic demeanor, undressed itself through this arrangement. As the piece carried on, the masses fell into her lap, with the ease of an infant to a mother’s warm embrace. Taeko at this point had fallen into her groove, which so mirrored and was evident on her debut project One Love.

I had a chance to converse with Taeko on her stimulating encounter at Bushnell. “It was a total joy. First of all, we were lucky to have such a gorgeous summer day. The green lawn in this huge park was full and shiny, and the breeze was soft. Everyone was smiling, and we all were there for the sake of music and to have a good time together. The energy in the park was high!” As for her take on the audience reaction, she let it be known her gratitude was genuine. “As I was hearing their (band) performance and the audience’s response, I was able to tell we had a great listening audience out there, which made me so excited and relaxed at the same time to come out to the stage as a headliner.”

Taeko is an artist that never adopted those ego centric tendencies, offered her appreciation to those who have traveled along her career path. “As you know, jazz is a communication. Since we had a wonderful audience of nearly 2,000 people in front of us, and my musicians, Lou, Gaku, and Doug did an excellent job playing together, performing on the stage felt so easy. All I had to do was to enjoy the moment, release myself in each song and sing my heart out.” As the audience reaction grew, this statement was apparent and easily confirmed.

The articulate delivery of her arrangement of “Hoshi-No Love Letter” was yet another musical epiphany for the attendees at Bushnell. This piece from her debut CD One Love is an extension from her heart, which reached out with range and tone to sway curiosity to those first time fans, experiencing her gift. The encores at the end transformed and delivered a new level of fandom to follow her career. As one fan stated privately to Taeko afterwards in a casual story the fan expressed she was going through a tough time in her life especially with her parents divorcing, etc., but Taeko's music was able to give her a joy and she wanted to send a note of thank you. Taeko’s answer to this was short and direct “This is exactly the reason why I sing.”

The concert at Bushnell was just one exhibit in the velvety approach and surrealist expression of Taeko Fukao. Animated on stage with swagger defined by her eastern heritage, Taeko’s angelic lyricism is a show that adopts sellout crowds. Her arrangements may be at times complex and cohesive, her lyrics defining and sentimental, however her performance is a euphoric escape for all, in a few precious blue-chip hours.
- Karl Stober/ jazzreveiw.com September 2009

Fukao is an astounding singer. She’s also someone who takes chances with her music and isn’t afraid to play with her own range on a record. Part of what makes One Love such a special album is her desire for variation. The songs flow together magically, yet are all very different experiences as Taeko plays with the boundaries of jazz and urban soul.

Born and raised in Japan, she came to New York City in 1998 with a strong fondness for jazz and dreams of expanding her career in music. Taeko studied with Juanita Fleming and Marion Cowings and, through her rigorous study of jazz, learned to work with the nuances of her voice. That voice has earned her performances in some of NYC’s finest jazz clubs, including Blue Note and the Zinc Bar.

One of the first things that strikes me about One Love is the deepness and extent of the songbird’s voice. Taeko has remarkable range and vocal command, able to manipulate normal notes into tapestries of sound. She tempers deep soulfulness reminiscent of Anita Baker with sophisticated scatting a la Ella. The combination is a treat and never feels forced.

Bookended by two interpretations of Bob Marley’s “One Love,” Fukao’s record is a gorgeous journey of music. The album was recorded in three different sessions between April of 2006 and March of 2007, with each session using a different cast of musicians to keep things flowing. Her backing band is good, but never overpowers. One Love is all about Taeko’s vocals.

Antonio Carlos Jobim’s classic tune “Dindi” is given emotional treatment here, as Taeko’s seductive interpretation of the tune is an instant classic in and of itself. Other tracks display the Japanese songbird’s interpretations to epic proportions, including the striking and melodically impeccable “Would You Believe” and the fun “People Make the World Go Round.”

Pouring another cup of coffee, I realize that I’ve had this album on repeat for quite some time. It’s a bit of a gray day, but Taeko’s music has brought out a tiny sliver of sunlight. Or so it seems. As I listen to “Hoshi-no Love Letter,” a beautiful song in her native Japanese, it strikes me as to what makes this woman so special. Her charming approach to music and her ability to maintain her elegant culture while venturing into the art of jazz makes her one heck of a singer.

Beautiful ballads give way to ample scatting on songs like “It Could Happen to You.” Tender intimacy and seduction reside right along with wild-eyed humour, as One Love runs the gamut of jazz and urban soul without missing a beat. Taeko Fukao’s record is a radiant way to start the morning (or the afternoon substituting for morning) and makes for a brilliant addition to any music lover’s catalogue.
- Jordan Richardson/blogcritics.org

Japanese vocalist Taeko Fukao has successfully attempted the daunting challenge of bringing the great American songbook back to its native country with a fresh and unique interpretation. Her sweet and delicate voice has a great range, and keeps everything in tune, as she demurely floats through pristine versions of "It Could Happen To You" and "I Hear A Rhapsody." Her liquid cool vocals is heartfelt on the embracing treatment of Bob Marley's title piece, which effectively opens and closes One Love. Her pastoral treatment of Jobim's "Dindi" sheds an intriguing and heretofore unseen dimension of this yearning tune. The band, comprised of some of the top flight musicians from New York, includes Dwayne Burno, Doug Richardson, and Harry Whitaker is quite impressive. In particular, Whitaker's keyboard work throughout One Love sets a fragile ambience to the entire atmosphere that keeps the music buoyant. Taeko as the gift to convey the feeling that she is carrying her heart on her sleeve for the entire recording, making you feel as if she is making herself vulnerable for your ears alone. That emotion alone, so rare in singing these days, makes One Love a recommended experience. - George Harris / ALL ABOUT JAZZ, Bay Area California, March 2008 Issue

Here's a ten-song festival by Ms. Fukao that is certain to knock you out. From the first smashing electric tones of "It Could Happen To You" (Burke/Van Heusen) I was whisked away to a musical wonderland. Fortified as she is with a brisk double time and concluding with an original scat, Taeko is ear shattering. She's from Japan and possesses an absolutely finely honed voice with many varied interesting shades. There's an exceptional "Dindi" (Jobim/Oliveria) that's so dramatic you are bound to play the replay button. It's theatre of the highest quality. Her duet with bassist Gaku Takanashi on "I've Never Been in Love Before" (Loesser) is up tempo and most extraordinary. "I Hear a Rhapsody" (Fragos/Backer/Gasparre) is almost taken at an innovative marching beat. It works very well. And then there's "Trav'lin Light" (Mundy/Mercer/Young). Taeko splendidly treats this standard to an emotionally almost standstill. It's a beautiful delicate treatment befitting a great standard.


- IN TUNE INTERNATIONAL September 2009 Issue

It is rare to hear a Japanese female vocalist but Taeko takes on the challenge. She gets to business on "It Could Happen to You" singing and scatting! The program includes a wide variety of classics including Jobim's "Dindi" and "People Make the World Go Round". The most compelling were "Would You Believe" and "One Love". - http://www.osplacejazz.com/reviews.php

Vocalist Taeko Fukao celebrated her new album, One Love at the Kitano Hotel on June 4, 2008. A good crowd turned out for the event. Taeko was wearing a beautiful dress: a beige mesh over satin. The singer, who has a very appealing voice, made it to the final 12 of the Jazzmobile Vocal Competition this year, and she works well with her trio of outstanding jazz musicians.

The Kitano has a nice space to hear live jazz, and there is no cover for their weeknight performances (held on Wednesdays and Thursdays). The second set opened with an instrumental number, written by Taeko’s Russian pianist, Misha Tsiganov. Besides being an excellent accompanist, he is very adept at playing with a trio. This was followed by the standard, “It Could Happen to You,” one of the songs on Taeko’s CD. The well-written arrangement had Taeko singing with a professional ease, her scatting and variations of phrasing the melody uniquely hers.

"Would You Believe?” is an original tune by drummer Doug Richardson. It was done with a bossa-nova beat, and at one point Doug stepped away from the drums, and picked up the melodica for an interesting addition to the music. Stanley Turrentine’s “Sugar” was a feature for bassist Gaku Taganashi, and it began as a duo with bass and voice. Gaku showed expertise on the double bass, playing some intriguing lines. “Trav’lin’ Light” is a gorgeous ballad, written by Jimmy Mundy, Johnny Mercer and Trummy Young, and it was one of my favorites of Taeko’s. She leaned back and closed her eyes every time she held a long note, taking the audience with her to a more relaxed place.

The set ended with Taeko’s break tune One Love, where she introduced each musician while he soloed. She has an honest-sounding voice, a good range, and was a pleasure to hear. Let’s wish the Kitano continued success in its programming of jazz vocalists.
- Lucy Galliher, www.cabaretexchange.com