Jay "Bird" Koder knows how to light up a place. Sure, it is his exquisite guitar musicianship but it is also his stagecraft and even more than that. It is the emotionalism and the soul that touches the listener.

He plays everything, every style, every technique but it is soul music that touches him the most and allows him to touch others. It is rightly called soul music because it is music from the soul to the soul.

It is the sincerity of his heart that touches. It is opennes and honesty that draws the listener in. It can only be described at the sincerity of love; a perfect love. SoulMates play with a sincere love and it is compelling.

I refuse to accept that only corruption is infectious. I believe that a pureness of heart is even more contagious. It is that shared character between SoulMates that causes wherever they play to become a sanctuary. They bring light and life to any space they occupy. That light and life is expressed in their joy, their love, their humor, and their respect for each other and for everyone in the room.

Monday night, May 14, 2012 was just like that. It was shown in vivid colors how the joy and humor of SoulMates can turn aside sadness and create a cause for celebration. That cause is the simple fact that we are all together, sharing the music and caring for each other. Yes, it sounds maudlin but these are simply the facts of the case.

The magic began with the very first song. Bird opened with an incredible guitar solo that swung wide the gates of paradise and Jarrod Lawson and Reinhardt Melz strutted through with some of the most beautiful keyboard improvs and ripping rhythm work ever. TJ Johnson walked in and assumed his usual spot with a greeting to everyone and the night was swinging into position.
 
As the second piece--the SoulMates original Fly Away--began, music recording master Brian Bell walked in with smiles and salutes to Bird and the band. Perfect timing to catch a sweet Bird solo as he walked through the crowd, at one point pulling out a chair and sitting down with three lovely ladies; guitar crying sweetly the whole time.

The warmth, smile and generosity of Jay "Bird" Koder. Nobody like him. His solo was so moving that, when Fly Away concluded, Bird looked at Reinhardt and asked, "How you feeling, Nose?" Reinhardt's response: "Pretty good after that solo."

And there it is... all in one answer from Reinhardt. Things are always better after a Bird guitar solo...or a Reinhardt solo...or a Jarrod solo...or when all three are in there together.

Reinhardt's showcase was next with Donny Hathaway's Valdez in the Country. All three can tear it up on this one and they always, always deliver. When Reinhardt finished his drum solo, someone from the audience cooed, "oooooo, Reinhardt!" Then Jarrod received much the same sentiment during Stay which followed next.

In this George Clinton composition, Jarrod created a different intonation than usual and his keyboard work was changed up, as well. SoulMates version is much different from Clinton's version but this was different from their own version! It was yet another higher incarnation of a great original. As Jarrod was humbling the listeners with his far-crying vocals, someone was overheard saying "This guy is amazing..."

Then Bird turns it on again with a solo of Bootsy Collins proportions, only sweeter. Jarrod kept looking over in amazement and said, "Yeah, play it like that but sassy" which brought a burst of laughter and applause from the audience. This was blues to make you smile. It was also blues to make you shake your head in wonder as Reinhardt kept up a forceful, driving rhythm throughout the piece.

Jarrod Lawson is the composer of Juniper Dream which came after. It could easily pass for a Gershwin tune, if you didn't know differently. Again, all three were playing their hearts out in an unmistakable offering of love and friendship. Reinhardt ended the piece on a terrific crash-stop that even made Jarrod spin around and say, "That was the coolest crash I ever heard! I actually thought you broke something!"

Reinhardt always open Fifty Ways to Leave Your Lover with the Steve Gadd rhythm but he had more of a military cadence as a prelude on this rendition. The SoulMates version employs samba stylings and everything else and creates great space for expression from each of the musicians. As Bird strolls through the crowd during his solo, Brian Bell encourages him on with "Go, Jay!"

Brian has recorded Jay "Bird" many times and even refers to Bird as "One-take Jay." Bird's first instincts are always on target and rewarding. It is no wonder that he is in such demand for recording sessions.

The most powerfully emotional offering of the night came with Jarrod's original Everything I Need. The sweet song of friendship was dedicated to a couple in the audience with the words "To let them know that wherever they go, they've got everything they need." With friends like those gathered together under the music of SoulMates and the protective eye of the Bird, we all have everything we need.

During the song, even more friends joined in. Musicians Randy Monroe, Reo, and Ricky Vernato came in to join the family with smiles on their faces and were greeted with smiles in return. As Reinhardt catapulted SoulMates into Can't Hide Love, Ricky was singing along as Bird and Jarrod laughed at Reinhardt's early launch.

Another Donny Hathaway hit, I Believe to My Soul, featured the searing blues of SoulMates. Bird changed up the guitar and it was hot. Not just hot...but HAWT! Jarrod provided the monstrous kicking bass from his keyboard. The fun stuff is watching Bird and Jarrod switch off bass parts when the other is featured. Some have suggested that a bass player might be fitting but, as one bassist told me, a bass would just get in the way of these two.

The first set came to a close with I Wish during which ample space is allowed for great guitar work and Reinhardt's cool groove. Below is a link to Jarrod's version found on YouTube. You get the idea of the way SoulMates play it when you see this.

The second and final set began with Bilal's When Will You Call. When raw emotions are stretched, the shared love of music and certain special musicians is like a salve. How it is that people who have only seen in each other in this setting can feel so attached to each other? This is what soul music does; it knits souls together. It quickens and it causes rejoicing.

The jumping funk of If You Want Me to Stay was a testament to that. Ricky Vernato wore a big smile as Bird played a ripping guitar solo. Jarrod's own keyboard solo was all ablaze and Reinhardt kept shifting the rhythms for Jarrod and the Bird to follow, which they always did without a miss.

Coolling things off, Reo and Ricky sat in and contributed beautiful, soulful textures to an already sweet night of soul. Reo expressed the night's emotions perfectly when he sang, "I feel so good tonight because SoulMates are my family..." He broke into a little It Was Just My Imagination as Ricky supported with delicate and meaningful piano playing.

Bird and Reo turned it into a church meeting with the call-and-response between vocal and guitar. Church music is a cornerstone of soul and blues and the tradition was in full exposure with Bird, Reo and Ricky.

Jarrod returned for Love, Love, Love and the sound of missing and longing was heart-breaking. Bird's guitar solo was so far-reaching, so pure, so very compelling. While being a song of absence, Bird brought eveyone under his wings for comfort.

SoulMates never leave one down. The final song of the evening was an extended encore of All Day Sucker. The bone-crushing funk could raise the spirits of the damned. It was the best version of the song ever heard by any of us. While not a final send-off, it was a closing of a Monday ritual and they were going to close it in style and in joy. Here is the joy and wonder of SoulMates: the music continues and hearts are forever knit. Grief and melancholy have little room to manouver when SoulMates are in session.

There is great comfort in knowing that every Monday night, somewhere, people are listening with their hearts as SoulMates are playing music from the soul to the soul.

Monday night was warm and summery. It was emotional and touching. There was a sweetness in the air that is beyond description for me. There was a feeling of friendship and love that became the motivation for what may have been their hottest performance at the Blue Diamond, maybe ever--at least in our minds. It was like they were pouring all their hearts and talents into this singular expression of affection and friendship for their audience. This was a night not to be missed.

The opening instrumentals were simply on fire, right from the first number. Drummer Reinhardt Melz was so solid and prepared a steady platform for Jay "Bird" Koder's torrid guitar and Jarrod "Two-Octave Handspan" Lawson's beautfiul keyboard work.

The second instrumental was a sweet, airy number that was a strong set-up for Bourbon Street, the SoulMates' original instrumental. This is a New Orleans heartbeat instrumental that begins as a blues-funk number with Bird cranking out a raw guitar solo. Reinhardt contributed to the blues feel with a pounding heartbeat rhythm as Jarrod created a churchy keyboard movement that carried alongside Bird's nasty guitar; the Church of St. Nasty.

The third warm-up instrumental (although they didn't need warming up!) was like a summer thunderstorm with Reinhardt's thundering rolls and Bird's lightning guitar as Jarrod created a rainy impression on his keyboard. And all of this was in preparation for what came next...the most moving instrumental ever. Ever.

The song was a send-out to Chieko and the song was Sukiyaki. As I have mentioned in times past, the original was by Ryu Sakamoto and the Japanese title is translated "I Shall Walk Looking Up." It was a fitting song on this emotional evening. The performance was sterling and may have very well been Bird's finest version of this song. As Bird strolled into the audience, he played before Chieko and they bowed to each other in a meaningful and touching way. Jarrod and Reinhardt supported the song with heart-felt dedication and warmth.

When the song concluded, Bird commented to Jarrod and Reinhardt something meaningful but not to be repeated here. It was not profane, it was an expression of sentiment that you would not understand were you not there.

Then SoulMates lit it up again with Moonflower. It was another hot treatment with Bird's wicked guitar solo, Jarrod's cool keys and Reinhardt's barrio beat that added more and more punch to the song.

Our friend, Kitty, was in attendance with us and her eyes grew wide as she watched and heard all that was unfolding before her. She had seen Reinhardt in another setting but this was where he was in his element. Again, the only word was hot! Or maybe caliente.

Below is a YouTube link to a 1977 Santana performance of Moonflower. You will hear the same melody but SoulMates carried this composition to greater heights than even Santana could. I know that you won't believe me, but you need to see SoulMates perform this to understand.

George Clinton's Stay featured Jarrod's kicking bass and soulful vocals. It was accompanied by Reinhardt "pulverizing the drums," as Bird described it. This was a fantastic set-up for Jay "Bird" Koder's original composition Man 4 U. Jarrod continued with the warm vocals and Bird created a powerfully attentive guitar solo that pulled at the heart and carried the emotions of the night even deeper.

Although the song was written for the love of his life, his charming wife, on Monday night it was performed by all three of our SoulMates in a way that identified them as being there for us. They have always been there for us and they continue to be there for us.

Her Twisted Mind is a very intriguing composition by these SoulMates. It is a tale told in a song. It contains many memorable lyrics and some are powerful and threatening. "I have received no mercy and surely none will I be shown" is a splendid example of wordcraft and is a writer's dream. Reinhardt adds his own merciless groove and enhances the sense of inevitability that the lyrics create. This is an amazing song in it's form and execution.

Before the break, the mood was changed back to one of harmony and affection with I Believe in Music, a Mac Davis composition that was carried to the heights by the beloved Donny Hathaway.

"I believe in music, I believe in Love" were fitting words to express the mood of the night and a fine way to close out the first set. SoulMates' version opens and closes with the unforgettable chords of Let it Be.

A short second set was opened by another Hathway treat, I Believe to My Soul. Again, the word hot must be used to describe Bird's bluesy guitar and Reinhardt's slamming drums. Jarrod has worked and re-worked the vocals to perfection. This version is unbelievable.

The next song was introduced by Bird with the words, "This is going out to Travis in an attempt to get that boy on the right track." The song, of course, was Stevie Wonder's unreleased Right Track. It was played with fun and humor and ... it was wonderful.

The evening concluded with All Day Sucker. This is always a fun send-off as Reinhardt cuts loose on this like almost no other song. He ripped into rhythms unimagined and he slashed and crashed through the cymbals and even unleashed a rare "Ahhhhh!" as he brought the audience to their feet. Jay "Bird" acknowledged Reinhardt's performance with "Stop that man before he kills again!" Fun and affection remained in the air.

This was the warmest and most emotional of all SoulMates' performances. I have not seen anything like it before but, I am sure, we will see it again someday.

I love these guys.


When I go from hence, let this be my parting word, that what I have seen is unsurpassable.
                                                                                       ~ Rabindranath Tagore
 

"Oh, my God! There's Mel Brown and isn't that Shirley with him?" It became clear on Monday night that Portland's great muscians had found out where SoulMates were now holding court. And they were coming out in force. But Portland's legendary drummer and "Gentleman of Jazz" Mel Brown  and Shirley had staked out their spots early.

So right out of the gate, everyone wanted to see what drummer Reinhardt Melz was going to do in Mel's presence. Mind you, it is not showing off or trying to impress; it is giving honor and respect.

It all started so cool with a usual section of instrumental warm-ups and Jay "Bird" Koder bringing out a new guitar to test out. Reinhardt sets a cool swinging pace and Jarrod Lawson doing fine work on the keys. And then Reinhardt turns on a furious drum solo which Mel applauded appreciatively. As the trio returned, Mel was slowly nodding his approval.

The second instrumental saw Bird put away the new guitar and return to the old gig-standard Epiphone/Gibson/Something-else warhorse. This was a Bird original composition and it was just cool.

Bird introduced the next number by sending it out to "This sweet lady came all the way from Japan to hear her SoulMates. This is for you, Chieko." The regulars know what the song is going to be and they can't wait for it. The song is Ryu Sakamoto's Sukiyaki. The toughest guy will get a lump in his throat the way SoulMates perform this. It is easily the most moving instrumental in SoulMates repertoire. Barney Early later confessed that he regretted not being seated by his wife when Bird turned it on in this song's solo. It is just so. The SoulMates rendition of this makes you long to be close to your loved one. Bird's face changes when he plays this. He seems to lose himself in it and his listeners follows him.

When the song fades out, it is like a pleasant daydream that you don't want to end. But Bird grabs you by the scruff of the neck and pulls you up into the next adventure. And what an adventure!

Valdez in the Country was dedicated to Mel Brown because this song is Reinhardt's playground. This is a drummer's dream song and Reinhardt was completely unconscious in this one. The drum solo was a masterpiece on its own. Mel applauded enthusiastically and again later. He clearly loved the solo but he was digging the Reinhardt groove. When Reinhardt lights it up, everybody sees the light. Jarrod ripped up the keyboard and Bird just howled on the guitar. When Bird worked the guitar over you could see him making the "Wah..WAH...WAHHHHH" open-mouthed imitation of the guitar sounds. Leaves you chill-bumps.

After a sweet return to Gershwin's Summertime, the younger crowd arrived and began to really fill the place. But also arriving were more of Portland's premiere musicians. Here came Reo and Ricky Vernato from Andy Stokes' Band. Soon after entered none other than Victor Little the great bassist whose hometown is Portland. Arietta Ward snuck in and took up a usual seat in the back. All of these had been regulars at the Candlelight but this was the first time that they had made it to Blue Diamond to see their SoulMates. Joining the whole crowd was Portland's other legendary drummer, Ron Steen.

Mel Brown and Ron Steen in the same place at the same time. It was too good to be true. Reinhardt gets to sit in the chair of Thor while Zeus and Jupiter are in the audience.

Lance Giles! Where were you? You missed it all!

The blues took centerstage during the performance of The Colour of the Day and One Mo'Gin (That's not "gin" as in "gin and tonic," but 'Gin with a hard G as in a shortened pronunciation of again. Just so you know). There was smoldering blues guitar from Bird and really bluesy vocals from Jarrod; slow blues.

For the first time, the dance floor filled up. Now it's a small dance floor but this was the first Monday night I have seen it full.

Fifty Ways to Leave Your Lover kept them on the floor until Knocks Me Off My Feet really cut loose the magic.

Mel Brown had stepped out into the hall and during Jarrod's soulful Everything I Need, he stood close behind Reinhardt and took it all in. Such a moving song. Can't get enough of it and, apparently, neither could Mel.

Then it was time for lively soul and Donny Hathaway's Love, Love, Love started the fun. This was "pretty music," as Donny called it. "You made me fall in love with you/ Now I don't know just what I'm gonna do" was then accompanied by a very pretty guitar solo from the Bird. It was a stop-you-in-your-tracks solo and that is not an exaggeration because a cyclist had been passing by and, when he heard the music, hit his brakes and stopped right at the open door of the place. He sat astride his bike with a huge smile and bobbing head until the song's conclusion when he had to move on.

Shirley Brown was dancing by her seat during Can't Hide Love. Jarrod open all the stops and let his pipe-organ voice wail.  Ain't Too Proud to Beg brought all the dancers back to the floor.

Bill Withers' Lovely Day has become an indespensible song for me. I was always a huge fan of the Withers original but SoulMates bend every song to their own and they improve it. I have gone back and listened to the Bill Withers CD, just like I have done with Stevie's Knocks Me Off My Feet and Donny Hathway's Valdez in the Country. Seriously, the originals have been replaced for me. The SoulMates' versions have become my favorite versions. If they ever cover And You and I by Yes or Larks' Tongues in Aspic by King Crimson, I just may have to sell off my CD collection entirely. What would be the point in keeping the originals? SoulMates keep turning in better versions!

Arietta Ward was called up onstage for the closing songs. What had been a regular feature at the Candlelight has now carried over to the Blue Diamond. The go-to songs for Arietta and SoulMates are Fly Like an Eagle and If You Want Me to Stay. 'Etta acknowledged that she had not done her "homework" and so Jarrod passed her a lyric sheet.

She sweetly exclaimed, "I get so excited when I join my SoulMates!"

I think we all feel that way. The music was done but no one seemed to budge. Mel and Shirley were still in their seats. Reo and Ricky, Victor and Ronnie were all sticking around. For a couple of hours on Monday night, the best of the best were assembled together, excited to join their SoulMates.

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