Artist Interview by: Karl Stober
Venue: USA
March 2008 - Taeko Fukao, a name widely known now, but in the very near future, artiste
Taeko the talent, will be synonymous with harmonic ingenuity and inventive
musicality. Taeko has unearthed emotional jazz both in performance and concept.
Talents are hidden beneath this Japanese born musical philosopher with a range
that is refreshingly crisp. Taeko also has a gift of putting fear aside and
acting on logic and direction. Asked if she found scatting difficult as many do,
Taeko just expressed it as “natural” for her…not frightening or hard, just what
was right for that tune and time!
Taeko’s voice is a gentle breeze with hurricane potential, reacting on the
mood of the moment. A vocal capability that could make a lullaby weep, a ballad
swoon, and a jazz standard swing with white, rapid fervor in every direction,
Taeko has the potential to be a rubber-stamped classic as she strives for growth
and distinction.
A determined jazz vocalist, Taeko has embraced the most intense educators to
guide her in her voyage. Juanita Fleming, who shared stage space with Thad Jones
and the Mel Lewis Band (who offers her insight at the end of the interview) is
just one of many artists who see Taeko as what the social order of jazz will
soon grasp hold of. The voice of Taeko is one of clarity, multiplicity, vibe and
synchronization, adorning a multitude of personalities. What a wonderful gift
that has crossed the aquatic separations of Mother Earth to offer her gifts of
musical appeal.
Taeko draws intensity in her audio tactics. Looking for the best of every
aspect in a cut she has a perfectionist personality without the seasoned
arrogance. Taeko is angelic by nature, but savvy in execution. Case in point is
the compassionate and angelic performance in “Hoshi-no Love Letter.” Poet Lord
Byron would be proud of a love expressed in such form!
So this young and vibrant jazz vocalist from Kyoto, Japan takes the jazz
world in a new direction seen from the eyes and mind of another culture known
for its spirituality, philosophies, warmth and commitment. Taeko’s debut
piece “One Love” has solid jazz credits along with being technically secure in
its jewel box…an exquisite piece of sound!
All that needs to be said will be addressed by Taeko very soon, for the
idiosyncrasies of her personality and craft will meet, and then the nucleus of
one angel from Kyoto will enter your life in song. A wonderful blooming flower
sure to root in your heart as we now go between sets with Taeko as she blurs the
difference in cultures with song!
JazzReview: Taeko, take us to your life in Kyoto, Japan,
looking at it not only as a musical, but also its philosophical influence.
Taeko: Kyoto is a deep and compact city where
everything from the ancient tradition to the modern culture, from big tourism to
quiet life, and from business to loose leisure exists all together naturally. I
was able to experience many different sides of life there. No matter what it is,
they take pride in what they do. Looking back now, I feel that it was a great
training ground for me as a musician and a person.
One beautiful thing about Kyoto is that its business scene always has room in
its budget to support art. It is a great culture.
JazzReview: What is the dream of
Taeko?
Taeko: To contribute to make Japan a better place for ladies
with skills and visions, and to have my 70-year old birthday jazz party with all
my friends and families across the planet.
JazzReview: To strive towards the dream, you looked for
the tutelage of jazz and gospel singer, Juanita Fleming. How did your
gift bond with the direction of Ms. Fleming? What was the most dynamic
piece of advice you got during your education?
Taeko: Juanita is a wonderful coach and a very warm
person. She helped me to have easy access to all the range I have and to clear
my accents on English. I still have to work on it, but I am definitely a
different singer than when I met Juanita.
Juanita always emphasizes the most important thing as a singer; to tell the
story. Being a jazz singer, sometimes the focus is too much on melody and
harmony, but Juanita reminds me that the audience wants the story.
One more great advice Juanita gave me is that “singing is colorization.” It
is like painting a banana; you may paint it all yellow when you are a kid, but
as you become an experienced adult, you start to color it with green here, brown
there, and many other ways. It made me understand how to approach the art of
singing.
JazzReview: It has been quoted that you are "the
best of your generation.” Tell us why those around you feel that way? What makes
the audiences draw to your sound and performances?
Taeko: (Probably it is quoted as “one of the best”). My
generation has so many talented singers with solid knowledge and skills, so I am
flattered that some people feel that way. I think what they mean is that when
they hear me, they hear something unique, not something they heard before, but
something original.
JazzReview: I have spun this project, One Love,
numerous times and there is a sound I just can’t identify. Describe the sounds
and methods of Taeko for us, as well as your process of preparing an arrangement
for recording.
Taeko: If the sound cannot be identified, I think it is a good
thing, because that’s what all jazz musicians strive for. In terms of
arrangement, I was blessed to have great musical support from Doug Richardson on
this project. Doug and I have been working together for almost ten years and we
have organized many arrangements together. Doug also provided me with one of his
beautiful original tunes called “Would You Believe?”
JazzReview: You have an outstanding way of articulating and performing
the music. You also take the “American Feel” of the classics and make them
your own. What’s the secret behind this rare gift?
Taeko: Thank you so much for your comments. American
songs are very emotional and expressive most of the time. However, real emotion
is something to be hidden or implied in Japanese culture. The energy to
break my nature and release my emotions in music is the fuel of my singing.
I think articulation came from the fact that I needed to work extra hard to
break my habit that comes from speaking Japanese. The Japanese language has many
nasal, unclear sounds and less movement of lips and cheeks than English. My
facial muscle definitely have changed as I worked on it.
JazzReview: You enjoy the rarest of arts in jazz,
scatting. So many others attempt, with failure, however you push the fears
of the craft and embrace it. Was the technique of “scatting” a difficult art to
accomplish or develop?
Taeko: I actually never looked at scatting as
something difficult or easy. I always have to work at it, but being around jazz
musicians, it has been a natural thing for me.
JazzReview: Three sessions and a number of musicians
later your debut One Love hits the shelves in March. What emotions are
you entertaining and if any, expectations are you hoping for?
Taeko: I was very afraid of how this CD would be viewed
until Lamon Fenner, a wonderful jazz DJ in Harlem, NY, gave me very nice
comments. That gave me encouragement to present this CD to the public. Now
I hope that One Love will be heard by people all over the world.
JazzReview: The love ballad “Hoshi-no Love Letter” makes
one feel for all the loves that filtered down within our lives. The music was
stunning and the voiced cried out for acceptance from the heart. Talk about this
music and how you approached the performance.
Taeko: This is a Japanese pop/rock song that was
very popular during my junior high school years. I kept hearing it as a slow
ballad in my mind and finally, an arrangement idea came to me around 2005. Once
the arrangement was done, performing the tune was a natural process because I
just needed to be myself. I knew this would be on my next CD. At the recording
session, we only did one take on this song, and Gaku played a beautiful solo. I
think he was the perfect soloist for this song.
JazzReview: Most have commented on the cut “Dindi”
and how good it is, so let’s back off of the stereotypical questions and enter
that guarded zone of Taeko’s thoughts. What does this piece say to you? What
told you to perform it the way you did? Did it meet your expectations and when
you hear it, what does it make you feel?
Taeko: I find the English lyrics very poetic and beautiful. The ending
line “I’d be running and searching for you like a river that can’t find the
sea,” grabs me strong whenever I sing it, because my brother’s death in 1995
heavily taught me how it feels to be lost and searching for love. My brother did
not have a chance to see me as a professional singer so I hope this song reaches
him in paradise.
JazzReview: The vibrant Taeko gets introduced out of the
gate with “It Could Happen to You,” which has that very cool “Scat” appeal.
Talk about the arrangement and multi-directional personality of this spin.
Taeko: This is a fun tune with Doug’s Betty
Carter-influenced twist at the end of each chorus. Doug is a great example of
someone who tries to challenge his musicians. Jazz is something fun and
exciting, and that’s what “It Could Happen to You” is to me.
JazzReview: Introduce us to your musicians and the
impact and direction they had on the project.
Taeko: Everybody loves Harry Whitaker and so do I. He is a
great accompanist for singers. Harry played a beautiful solo on “Dindi” and
“People Make the World Go Round.”
Gaku Takanashi is a well-rounded, versatile acoustic and electric bass player
and a fun person to be around.
Misha Tsiganov is one of the most exciting pianists today and a very sweet
person.
Dwayne Burno is an excellent musician who flat-out swings with the big fat
bass sound.
Doug Richardson is not only a great drummer, but is full of unique musical
ideas. He is a co-producer of the album and helped me to establish visions on
this entire production.
JazzReview: The music industry has many barriers to
offer the climbing talent, and being a youthful, dynamic female offers numerous
issues. Talk about those issues thus far you may have met and how were they
handled.
Taeko: Being a female did not seem to be as much of a problem
as being an Asian girl; it seemed to be because there are some people who always
target Asian girls. I had to learn to use my judgment to see where the real
intensions were, whether they really meant to help my career or something else.
JazzReview: I notice the absence of originals adorning
this spin. Does the future have some Taeko originals to unveil?
Taeko: Definitely, yes. I have been trying not to force myself to
write, but wait until I feel I spiritually need to write. It is about
time.
JazzReview: Next CD will be out when?
Taeko: When I have enough musical ideas to present something to
extend One Love, hopefully, within the next 2-3 years.
JazzReview: What if any, is the concept for
the next project?
Taeko: Something that brings my background to the table of
jazz.
JazzReview: Okay, let’s get off the music
mayhem and have fun. I know you enjoy cooking so offer us your favorite
Japanese recipes with the cool sounds of Taeko as the backdrop? Okay, so I had
to have some music on this!!!
Taeko: Miso paste is a great thing. It is not only used to make
Miso soup, but it is great as a seasoning for many dishes.
I can give you one of my favorite easy recipes: First, make a
salty, sweet, flavorful source of Miso paste, soy sauce, rice wine, sugar,
a little chili pepper and white pepper. Once you stir-fry ground meat, bean
curd, and scallions very well, you add the sauce to the pan to finish up. Then
you put them over cooked white rice. [It's] full of protein, a delicious, power
food. Don’t ask me the measurement because neither my mom nor I measure
ingredients with cups or spoons; we just feel the food out.
JazzReview: Now to get to know
one, you need to have fun, so let’s do! Answer if you will these probing
questions and be blatantly honest…
1. What is Taeko’s one
vice?
Chocolates! I am very bad.
2. Favorite romantic
instrument?
Voice.
3. What makes you
laugh?
My funny girlfriends.
4. Your favorite non-jazz
album?
Donny Hathaway/Live
5. If you needed to get away, where do
you go?
A quick getaway to Central Park. That’s all I need.
6. Favorite Japanese food and American
Food?
Japanese Food - Nabe (A big family style hot soup pot with fish, chicken, and
a lot of vegetables)
American food- Apple pie
Taeko’s Final Thought:
I recently learned not to worry about uncertain things, but just relax and
live with uncertainty. In this era of information and technology, we still
cannot control everything such as our future. Through the art of music, I
hope to share with people an ease of mind, a joy to feel the current moment, and
power to get up tomorrow.
After Sets with Juanita Fleming
JazzReview: Juanita, as a singer with icon Thad Jones, you have
much to teach. Talk to us about your student and friend Taeko, not only as a
student, but vocalist and individual.
Juanita Fleming: You want to know what I think and feel about
Taeko as a student, singer and person? Well, let me first say that as a
teacher, it is a real pleasure to have Taeko as a student because she listens,
practices and executes whatever is given to her and more. She is not a
quitter, not to mention the fact that Taeko has been blessed with a wonderful
vocal range, excellent ears, an understanding of jazz rhythms that many singers
don't have, and Ms. Fukao treats the lyrics with care and understanding.
She has a strong desire to accomplish her dream of becoming the best
internationally known Japanese female jazz artist.
Taeko's personality is well suited for this business because she can take the
harshest music criticism and make it work for her. Her spirit and love for
jazz should be quite apparent to anyone who listens to her sing.
Potentially speaking, I'd say that she’s only just begun. Like a fine wine
that mellows with time, that's how I see Taeko Fukao.
As delightful as Taeko sings on her first CD, One Love, I'd say, "Stay
tuned everyone because the best is yet to come." Taeko Fukao is someone to
keep your eyes and ears on.
Karl Stober is a freelance critic and journalist internationally who is
still looking for the meaning of life through music. If you wish to contact him
for a project or interview please email jazztrenzz@gmail.com.
For more information: http://www.songbirdtaeko.com
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