Concert Review: Giuseppi Logan Quartet

Alto saxophonist Giuseppi Logan performed with his quartet on Thursday, January 20th, 2011 at ESP-Disk' headquarters in Bedford-Stuyvesant, Brooklyn. Logan, who recorded his first album (pictured) in 1964 on ESP-Disk', left the music world for over 40 years, during which he battled mental illness, homelessness, and drug-addiction. He has recently returned to the New York City jazz world, in which he performs sporadically, and in 2010 he recorded The Giuseppi Logan Quintet (Tompkins Square Records).

Complete on: http://jazz.about.com/b/2011/01/22/concert-review-giuseppi-logan-quartet.htm

Interview: Loren Janes of Bullitt

Reprinted from http://jazzwax.com

As a kid growing up in New York in the late '60s, I had a thing   for the movie Bullitt starring Steve McQueen. While I didn't necessarily understand the plot, I was mesmerized by the car chase. At the local candy store, all of my friends talked  obsessively about it, probably because watching the sequence felt like being on one of the amusement park rides we loved so much. The you-are-there  sensation owed much to the use of cameras in the car. You felt every bump and jolt.

On Sunday, I had the opportunity to gain teenage closure. On  assignment for the Wall Street Journal, I was in San Francisco to drive the original Bullitt chase scene in a new, 2011 Ford  Mustang V6. In the passenger seat was Loren Janes, the fabled Hollywood stuntman and McQueen double who had driven the movie's most exciting scenes. Loren had graciously flown up from Burbank for the day to take the ride. What's more, I had a CD of the Bullitt soundtrack to set the mood. The result is in today's Wall Street Journal or here. [Photo of Loren Janes in San Francisco by Marc Myers]

Loren is a very level-headed guy who spent years doing crazy things for a living. Really crazy things. He pulled off hair-raising stunts in more than 500 movies—nearly all of them household names. He also has added excitement to more than 2,100 TV episodes.

You realize that without guys like Loren, movies over the past 50 years would be rather static. When I asked Loren if anything scares him, Loren said matter-of-factly: "Not really. I'm asked that often. I'm not really afraid of anything, and I've never broken a bone. I've been a gymnast, a Marine, a diver and Olympic athlete, which was great preparation for stunt work. I was always comfortable in the air." [Pictured: Marc Myers and Loren Janes]

Today's post isn't about jazz, but it's certainly about cool. For those who share my fascination with Bullitt or have always been curious about stuntmen, especially those who began their careers in the early 1950s, here's what Loren said to me during our conversation leading up to our drive on Sunday:

“I first met Steve McQueen while working on the TV show  Wanted: Dead or Alive. Steve was the star. Apparently, there had been two stuntmen there Steve didn't like, and they were both fired. They called me because they had scenes to film and I lived about five minutes from the studio.

"When I showed up on the set, I walked past Steve, who was sitting around. We were both taken with how much we looked like each other. He asked me to get him a coffee. I wasn't happy that he was treating me like a gofer. I walked up to him and said, ‘I’m going to make you look better than you can make yourself look. Just don’t blow my close-ups.’

"As I walked away, I could hear him scream to the director or someone, 'Fire him.' Apparently they had said to him in response, ‘No, no, he has to do the stunt first. We’ll fire him after if you want.’ 

"When it was time to do the first stunt, the coordinator told me Steve wanted it done as athletic as possible—meaning realistic and seemingly impossible. The stunt called for me to go through a low window in a barn, roll off the ground, leap up, vault over two horses, land on Steve’s animal and ride off.

"I spent some time walking the set to make sure the ground was clean and that there were no surprises. I moved the horses a little closer together and moved a rock that I could use to spring off to go over the horses.

"When the director yelled, “Action!,” I went through the window, did my somersault, ran 15 feet to the horses, leaped over two of them, landed on Steve’s horse and took off. Steve couldn’t believe it. I worked out daily on parallel bars and other gymnastic equipment in my backyard, so vaulting over the horses wasn't a problem.

“On my way back, I brought him a coffee, and he laughed. From that day forward I worked with him on every movie he made, including his last, The Hunter, in 1980, where I had to hang off the Chicago elevated train traveling at 55 mph.

“When I broke into the business in the early ‘50s, most stuntmen were gymnasts or ex-Marines. I had been both as well as a diver. I also competed in the 1956 and 1964 Olympics in the modern pentathlon.

"One of my favorite stunts was for How the West Was Won in 1962. I was doubling for an actor who was shot. I had to leap off a train going 30 mph, hit a cactus and tumble down a rocky hill. A cactus is like a telephone pole. Hitting it dead on would have sent me back under the train. So I had to figure out the right angle to hit the thing.

“I also wanted the cactus to be flexible. I dug four feet down and cut out the tap root. Then I filled in the hole with the dirt so it would spray up when I hit. I also calculated the angle so I knew when to jump from the train. Next I took a blowtorch to the cactus needles where I had planned to hit to avoid being impaled.

“In the scene, the train sped along, I jumped, hit the cactus just right, the cactus fell over with me and I went down the hill perfectly.

"In 1968, when I got the call to work on Bullitt from Carey Loftin, who at the time was probably the greatest car man and stunt coordinator in the business, I was working on another picture. So I couldn’t be on the set of Bullitt right away. Another stuntman, Bud Ekins, did some of the early driving sequences until I could get there.

These scenes with Ekins included one with the Mustang and Charger tearing across the Golden Gate Bridge and through the toll plaza at 80 mph. But it was cut from the film. [Pictured: Steve McQueen and Loren Janes]

“When I showed up on the set, Carey explained what he needed me and Bill Hickman [pictured], the driver of the Charger, to do when we went down the hill on Taylor Street. That's the hill where our cars are jumping in the air at each intersection. We sat down and went over what was needed and how to execute the stunt. All of the scenes were like that. Careful preparation.

"It took the crew four weeks to shoot that 10-minute car chase. It didn't unfold the way it does in the film. The scenes were shot street by street, and in a different order from the film. Then the scenes were arranged into a deck of cards in the editing room so there was continuity. So for the stunt driver, it wasn’t a car chase as much as a series of block by block enterprises all over town.

“Before doing the Taylor Street stunt, I drove the Mustang around to get used to it. I did little things like throwing it into reverse and slamming on the accelerator. Or hitting the brakes hard. You want to be sure that everything that’s supposed to work does—perfectly—so you can pull off what’s needed. Even the emergency brake is needed for certain things.

"But keep in mind, those weren’t ordinary cars. Many people who have watched the film think that any fast muscle car can do what we did. No way. Both the Mustang and Charger in Bullitt were heavily worked on. They needed to be faster than street cars but also be able to take an enormous beating. That required heavy-duty parts and additions like race-car shocks, skid bars to protect the underside and special overinflated tires.

"Most people think Steve McQueen did his own stunts in films. Steve was a hell of a driver, but he was only behind the wheel for about 10% of what you see on screen. He drove in scenes that required closeups—but not in the ones that could kill him. Steve always asked me first whether a stunt was too dangerous for him to take on. If I said 'no,' he listened. He had to. No Steve, no movie, and no studio in its right mind would put its star at that much risk. I always had the final say, for his sake.

"Driving down Taylor was tough business. As good as Steve was, only stunt pros were qualified to handle the harder scenes. In one scene that they left in, you can see that Steve was unable to make one of the turns and has to back up. The smoke coming off the wheels looked like burning rubber but it was actually a smoke prop placed in the rear wheel wells.

"Every car you see on the streets during the chase—including that green VW that pops up a few times on Taylor   Street—was driven by stuntmen. Everyone knew exactly what they had to do and how slow to drive so the Mustang and Charger could fly by. We had people stationed at every corner to keep pedestrians from wandering onto the set and prevent someone from suddenly coming out of a garage during filming. Even the cable cars crossing Filbert Street were there on purpose and were operated by stunt guys.

"Bud Ekins was the guy who falls off a motorcycle on the Guadalupe Canyon Parkway scene, which called for me to veer into a sandy shoulder. I hit that thing at a high speed. I have no idea how fast, since a stuntman never looks at his speedometer. You need to focus on what has to be done. Your body is doing the driving and your eyes are looking for places where your body has to react. How fast is of little concern. It just has to be very fast. When I hit that sand, I had to fishtail just right to catch the sand and slow down. Otherwise the car would have flipped.

"We had three identical green 1968 Ford Mustang fastbacks and three black Dodge Chargers in the movie. Many writers have said two, but there were three of each. We needed the extra cars in case one was damaged. The movie's shooting schedule can't be slowed for dents and things like that. Fortunately we only had to use a second Mustang once when the first Mustang had to go in to be fixed up.

"Most of the scenes you see from inside the car were shot by a cameraman or a camera tied back into the car. That was director Peter Yates' genius on the film. He put the movie-goer in the car, and it all felt real and exciting.

"The guy driving the Charger—the bad guy who at one point fastens his seat belt? That was Bill Hickman, one of the finest car stuntmen in the business at the time. It was great that Peter kept him in the movie. It was probably just easier and more cost effective that way. Peter knew exactly what he was doing and he cared about the stuntmen on the set. He’d always ask me after each stunt, 'Are you OK? Are you ready to move on?’ Most directors didn't do that. They only interacted with the stunt coordinators.

"My scenes in Bullitt were more rigorous than the driving I had done in earlier films. Everything about my scenes pushed the envelope beyond what had been done before, especially with muscle cars, which were relatively new. Everything had to be spot on.

The same goes for Bill Hickman in the Charger. In one scene, the Charger he’s driving comes down a hill and has to hit a car on the corner. He had to just kiss it with the front of his car, which added to the realism. You can do that only if you’re very familiar with your car and you’re fully conscious of what part of the vehicle you want touch the other one. He was great.

"The most difficult part of the Taylor Street chase sequence was when I had to jump a hill and then turn the corner at Filbert Street. With that kind of momentum—I was probably going around 60-mph—a car wants to go straight rather than turn. So when I’m coming down the hill, I had to know when to turn because the car is going to skid. That's physics. You have to turn early and let the car slide into the turn. Otherwise it would have gone down the street too far and you’d miss.

"My scenes were challenging, but I was never afraid. If you experience fear, you can’t do the stunt. It’s not a macho thing. We just look at it like a job. Fear leads to injury. You erase fear by having experience and by lowering risks through examination and careful planning. The trick is preparation without compromising realism. So you plan, work the set and then throw yourself into whatever has to be done.

"I never really had fear while working on all those movies. Many people ask me that. I suspect it's because I had always been physical and had been a gymnast and a diver. I was always in the air and was used to it and conscious of what I had to do when I landed. After all these years, I've never broken a bone.

"But I’d never do that Taylor Street scene today. I'm not afraid. It's just that my reflexes just aren’t what they used to be and I probably wouldn't react as fast as I would need to."

JazzWax notes: The new 2011 Mustang V6 was a loaner from the Ford Motor Co. A big thanks to Ford's Angie Kozleski in Detroit and Jason Camp in Irvine, CA. The car had enormous zero-to-60 acceleration, a strong passing gear that kicked in smoothly, and tight U-turn capability. The interior dashboard and steering wheel were retro, harking back to the model's original mid-60s heritage. [Photos of the 2011 Ford Mustang V6 by Marc Myers]

Having driven a '65 Ford Mustang as well as a '67 Pontiac GTO, '71 AMC Javelin, '69 Chevrolet Chevelle SS and '72 Pontiac Malibu in my youth, the new Mustang had a familiar, crouched muscular feel. Its clean design turned quite a few heads in San Francisco.

JazzWax tracks: The soundtrack to Bullitt is terrific. Lalo Schifrin composed and arranged the music, and the feel is largely jazz, despite the fact that the film takes place in San Francisco in 1968. You'll find the remastered recording with bonus material at iTunes or here.

JazzWax clips: Here's the original Bullitt chase scene. Note that the Taylor Street hill is used twice and that a green VW bug turns up multiple times:



Here's Loren Janes in How the West Was Won. His stunt is at 4:46 of the clip...



Here's Loren and other stuntmen talking about favorite car scenes in movies.

Here's a 1968 promotional documentary made by Warner Bros. called the Making of Bullitt, in which Steve McQueen is positioned as an actor devoted to the "truth." However, Loren was the driver in two of the movie's trickiest scenes as well as the stuntman between the jet wheels at the end of the film. The other tough scenes were done by Bud Ekins.

As Loren told me over lunch, McQueen often asked him on behalf of the studio to stay mum about performing McQueen's stunts. The purpose, Loren said, was to enable the studio to build him up as an action figure who did his own stunt work. Loren said McQueen certainly was active in physical scenes, but certainly not the most dangerous ones...



Used with permission by Marc Myers
http://www.jazzwax.com/2011/01/interview-loren-janes.html

More 2011 Show Date....

02/20/2011 - The Moon - Talahassee, FL

Advantage Sale & Premium Package Sales begins 1/25 at 10am Venue Time on Club Luck Ticketing Site.

03/10/2011 - The Cotillion- Witchita, KS

Pre-Sale & Premium Package Sales begins 1/27 at 10am Venue Time on Club Luck Ticketing Site.

03/11/2011 - Orpheum Theater - Omaha, NE

Pre-Sale & Premium Package Sales begins 1/25 at 10am Venue Time on Club Luck Ticketing Site.

03/13/2011 - Adler Theater - Davenport, IN

Pre-Sale & Premium Package Sales begins 1/25 at 10am Venue Time on Ticketmaster.

03/20/2011 - Morris Performing Arts Center - Southbend, IN

Pre-Sale & Premium Package Sales begins 1/26 at 10am Venue Time on Club Luck Ticketing Site.

eyeJAZZ Seeks Training Program Applicants....

eyeJAZZ, the Jazz Journalists Association's initiative to launch a new form of  visual reportage about live music, is seeking applicants for its video training program. Selected applicants will receive a free pocket video camera and four months of online training in the basics of shooting, editing and distribution of video as well as video story-telling and  journalistic skills.

No previous experience in video production or jazz journalism is necessary, but applicants must demonstrate a strong interest in both.  Applications are due by February 15; for details visit www.eyeJAZZ.tv and click “Apply Now.”

eyeJAZZ videos are brief, newsy views of musicians, listeners, presenters, producers, supporters and venues of jazz (broadly defined), created with pocket cameras or cell phones that are easily uploaded to websites including YouTube and Vimeo. eyeJAZZ videos are not performance videos, though they may include excerpts of performances.

eyeJAZZ videos focus instead on where the music is made, details of jazz technique and rehearsal practices, comments and responses of those involved with jazz – always protecting creators' copyrights and adhering to professional journalistic standards.  eyeJAZZ samples can be viewed at the eyeJazz Facebook page, www.fb.com/eyejazz

<http://www.fb.com/eyejazz> , and at http://www.eyejazz.tv/

eyeJAZZ instructors Bret "theJazzVideoGuy" Primack, Chicago-based filmmaker and videographer Floyd Webb, social media consultant and online, radio and print journalist JoAnn Kawell and JJA president Howard Mandel will teach a cadre of 30 successful applicants via webinars, streaming video and one-on-one Skype sessions. Training sessions will stress simplicity, production speed and fundamental reporting skills as essentials for gathering views of the jazz world, raising the profile of the music and understanding its contexts.

Successful completion of the eyeJAZZ curriculum will require the production and posting of at least five short videos that meet eyeJAZZ criteria and are approved by eyeJAZZ instructors. Accepted applicants will be notified on or about March 1. Training will begin on or about March 15, and successful applicants must fulfill all training requirements by July 15, 2011.

The general public is encouraged to adopt eyeJAZZ criteria for their own videos, which can be posted online at  the eyeJAZZ Facebook page and/or distributed using Twitter hashtags #eyejazz and #jazzlives.

The JJA also invites high-profile, experienced videographers to become eyeJAZZ Community Partners, producing short video samples that showcase how inexpensive portable and online tools can be used to make high-quality and highly expressive jazz videos.

The JJA's eyeJAZZ initiative is funded by the Mid Atlantic Arts Foundation with the generous support of the Doris Duke Charitable Foundation. For applications and more information, visit http://www.eyeJAZZ.tv/, or email president@jazzjournalists.com

 

From: Jazz Promo Services
http://www.jazzpromoservices.com/

Catching Up With The NEA Jazz Masters

When the National Endowment for the Arts Jazz Masters Awards ceremony and associated events happened a couple of weeks ago, I was caught on the horns of a deadline dilemma and had to skip the televised proceedings. I've been catching up with the honors to David Liebman, Hubert Laws, Orrin Keepnews, Johnny Mandel and the Marsalises. Better late than never.

The ceremony at Lincoln Center in New York City on January 11 ran long, although not as long as some previous years' events. It included nicely made five-minute mini-documentaries about each of the 2011 jazz masters. We'll show you two of them and lead you to the others.

The group award to Ellis Marsalis and his sons Branford, Wynton, Delfeayo and Jason stirred up criticism. The criticism is water over the dam; the award went to most of that extraordinary New Orleans family. My only substantial reservation is that Dolores Marsalis, the matriarch whose strength is the family's center, wasn't named on the plaque.



The NEA portrait of Keepnews came close to giving an understanding of what a gifted producer can do for music.



To find the video portraits of all five of the masters for this year and several earlier ones, go here. To see the entire two-hour NEA ceremony in streaming video, click here. And if that isn't enough for you, click here and see a panel discussion, complete with at least one surreal speech in the guise of a question from the audience.

From: http://www.artsjournal.com/rifftides/2011/01/catching_up_with_the_nea_jazz.html

Ken Field is a saxophonist, flautist, percussionist, and composer....

Ken Field is a saxophonist, flautist, percussionist, and composer. Since 1988 he has been a member of the internationally acclaimed electrified modern music ensemble Birdsongs of the Mesozoic, with whom he has recorded eight CDs.

Field leads the Revolutionary Snake Ensemble , a experimental and improvisational brass band. Year of the Snake, the group's 2003 debut, was included on best-of-year lists from WNYC Radio (New York), the Gambit Weekly (New Orleans), and Radio Popolare (Milan, Italy). 2008's Forked Tongue spent 2 months on the CMJ North American jazz top 20 chart.

 

The New Yorker selected the Forked Tongue NYC CD release performance as its nightlife pick of the week. The group has performed at the Kennedy Center for the Performing Arts, the Brooklyn Academy of Music, the Museum of Fine Arts (Boston), the Puffin Cultural Forum, Berklee Performance Center, and numerous other venues, and has been nominated for two Boston Music Awards and several Boston Phoenix/WFNX Best Music Poll awards.

 

Field has performed in the US, Canada, Mexico, France, Germany, Spain, Portugal, Hungary, Ireland, and Japan, and has been awarded residency fellowship grants at the MacDowell Colony (New Hampshire),the Ucross Foundation (Wyoming), the Fundacion Valparaiso (Spain), the MacNamara Foundation (Maine), and the Atlantic Center for the Arts (Florida).
 
His musical projects have been featured in The New York Times, Saxophone Journal, The Boston Globe, The Los Angeles Times, The Washington Post, Tower Pulse, Billboard, Cadence, The Wire, The Orlando Sentinel, The New Yorker, and many other publications. Field has performed for President Bill Clinton, with former J. Geils frontman Peter Wolf, and with the Jazz Composers Alliance Orchestra.

In 2004 he was commissioned by Bridgman/Packer Dance to compose music for Under the Skin, which has been performed in NYC, Washington (DC), Cincinnati, Dublin, Birmingham, and Boston. A CD of this music ...

http://www.allaboutjazz.com/php/musician.php?id=1407

11th Annual NEWPORT BEACH JAZZ PARTY

11th Annual NEWPORT BEACH JAZZ PARTY
From ELLINGTON to SINATRA

~featuring~

John Pizzarelli and Frank Sinatra, Jr.
  
   Four Big Nights & Three Jazz Packed Days of the Best Jazz Party on the Planet!

NEWPORT BEACH, CALIF.  Presidents’ Day Weekend, February 17-20, 2011, will again be the time for mainstream jazz lovers from around the country (& world) to arrive in Newport Beach for “Right Down The Middle And Straight Ahead” Jazz at the Marriott Newport Beach Hotel & Spa.  The party will again center on a large stage nightly at 7:00pm (Thursday at 8:00pm) with reserved seating providing a near perfect mix of concert conditions and intimacy of a club setting, all in the Grand Pacific Ballroom.

Highlights of this 11h Annual jazz lover’s weekend

·   Thursday’s Grand Opening Night will kick off the weekend with the Ken Peplowski Quartet followed by the Larry
Fuller Trio and concluding with John Pizzarelli’s Tribute to Duke Ellington- Rockin’ In Rhythm with Swing Seven
featuring Jeff Hamilton.

·    Friday evening will begin with an All-Star set lead by trombonist Dan Barrett and feature Claudio Roditi-trumpet, Houston Person-tenor sax, Anat Cohen-clarinet, Eric Reed-piano, Christoph Luty-bass and Paul Kreibich-drums. The second of 4 sessions will feature tenor man Scott Hamilton along with Benny Green on piano, Chuck Berghofer on bass and Lewis Nash on drums. For the first time at the party - San Francisco vocalist Kim Nalley will take the stage together with party veteran Houston Person.  Rounding out the night will be a return of the popular Jeff Hamilton Trio!

·     Claudio Roditi will open Saturday night’s sessions with an All-Star group featuring Scott Hamilton, Eric Reed, Christophy Luty and Jeff Hamilton.  The second session will bring together Yellowjackets’ famed tenor player Bob Mintzer along with party favorite flutist Holly Hofmann and the rhythm section of Benny Green, Chuck Berghofer and Lewis Nash.  Set #3 will for the first time at the party feature famed lyricist Alan Bergman and bringing the evening to a close will be an All-Star set featuring Anat Cohen, Downbeat Magazine’s Annual Critics Poll Jazz Artist Rising Star together with Ken Peplowski!

·    Sunday night will open with one of the most recorded drummers in jazz- Lewis Nash followed by a solo set by pianist Benny Green.  Joining Benny for the next session will be bassist John Clayton and drummer Jeff Hamilton! The third set will feature the Ken Peplowski Quartet with Tom Ranier on piano, bassist Chuck Berghofer and Jeff Hamilton on drums.  Bringing the weekend to a swingin’close will be Frank Sinatra, Jr. and his 20 piece orchestra under the direction of Terry Woodson!

Featured at this year’s Pool Sessions (Friday, Saturday and Sunday from 12 noon until 3:30pm), among 9 great sessions, will be the latin and Brazilian sounds of the Scott Martin Band;  big band standards of the Blue Note Swing Orchestra with guest Dan Barrett;  USC Thornton Jazz Orchestra directed by Bob Mintzer;  B3 organist Atsuko Hashimoto with Jeff Hamilton and guitarist Graham Dechter and the Dave Tull Trio.  Other highlights include All-Star sets lead by Bill Cunliffe, Holly Hofmann/Anat Cohen and Claudio Roditi/Gilbert Castellanos.

Additionally, two Champagne Brunches will be offered starring legendary trumpeter Jack Sheldon on Saturday and a return performance by the popular Barbara Morrison and Houston Person on Sunday. Also appearing at the Saturday Brunch will be the Eric Reed Trio plus Scott Hamilton and on Sunday the Adam Schroeder Quartet!

From: Jim Eigo - Jazz Promo Services.

Bill Evans - Jazz Piano Workshop - Beautiful Love

Jazz Piano Workshop Berlin 1965.

Taeko Fukao, Upcoming Shows....

TAEKO's Upcoming Shows
 Detailed Info, Sound Samples and Videos: http://songbirdtaeko.com/

Mobay UptownFriday, January 21st,  8:30pm-12:30am
17 W 125th Street, NYC
Ossining Public LibrarySunday, January 23rd, 3pm-4pm53 Croton Avenue, Ossining, NY
NIOS  in The Muse Hotel New York
 Saturday, February 5th, 9pm-12midnight130  W 46th Street, NYC

FLORIDA TOUR, Doug Carn Group featuring TAEKOTuesday, February 8th - Sunday, February 13thGainsville, GA and St. Augustine, FL

CASIO Presents THE POWER OF DREAMS CONCERT at Merkin Concert Hall- Kaufman Center
Sunday, February 20th at 7:30pm129 W 67th Street, NYC
-------------------------- 

From: Jazz Promo Services
Press Contact: Jim Eigo, jazzpromo@earthlink.net

http://www.songbirdtaeko.com and Flat Nine Records present Taeko Fukao's "One Love." A native of Japan, Taeko came to New York City in 1998 with dreams of expanding her singing career and took a strong liking to Jazz. Taeko studied with Juanita Fleming, a jazz & gospel singer who was a vocalist with the Thad Jones/Mel Lewis Big Band, and Marion Cowings who is the first disciple of Jon Hendricks. The intense jazz study, coupled with her
naturally appealing clear voice and unique musical ideas, have earned her performances in some of New York City's best known jazz clubs, including Blue Note, Ashford & Simpson's Sugar Bar, Lenox Lounge, and Zinc Bar. Her musical talent is also bought to Japan every spring and fall.

"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." - Edward Blanco / http://www.ejazznews.com/