March 11, 2011 was a day of unimagined tragedy in the wake of a 9.0 magnitude earthquake that struck Japan and the resulting tsunami and nuclear disasters. The loss of life was staggering and the ruin of entire cities and towns was truly beyond belief.

Rescue workers from around the world answered the need and money poured in for the clean-up and restoration. But what could a musician do? This was the question raised by almost all of the musicians in Japan. What can we do?

The answer from the disaster vicitms was almost universal: "Sing to us and makes us smile for a while."

Jarrod Lawson of SoulMates responded in a way that only someone with his heart and talent could; he wrote a song that has become a SoulMates standard. Everything I Need is his answer to the cry of all those who have suffered loss of any kind. He had Japan in mind when he wrote it but it has become a balm to those who are in pain. We look around at our loved ones and we are soothed by their presence.

With Jarrod's kind permission, I am reprinting his copyrighted lyrics. Of all my prized possessions, Jarrod's hand-written lyrics of this song are among my most treasured.

After that great storm
And everything we had was gone;
All of our worldly possessions laid to waste.
As we stood there and we stared
In that field of despair, I realized
I've got everything I need right here.
Everything I need.

Human kind seems to be
Marked by the proclivity
To covet things material
And disregard the spiritual.
Idols do we make of all that we accumulate
But they're just a souvenir and nothing to be revered.
Nothing to be revered.

In the blink of an eye,
We're here and then we're gone.
So little time that we have been given.
Why waste that precious time
In pursuit of what is yours and what is mine?
So gather together my people, my friends and my family
And I'll have everything I need.
Everything I need.
Everything I need.
Everything I need.
                             (Copyright 2011 by Jarrod Lawson. All rights retained.)

Amazing. The imagery is so very stark with visions of fields strewn with rubbish that were once treasures; a lost battle with nature. The sight of wide-eyed disaster victims who can only stare at the wreck of their homes and possessions dominates two-thirds of the song. 

Life is like that. We spend so very much time looking at what has been lost and we too often come late to the unveiling that those things should never have had so great a grip on us. As Jarrod states, we have made idols of things that are just remembrances and should never have assumed supreme importance. And, of course, Jarrod's use of the word proclivity is enough to make any writer miss a heartbeat or two.

The question Jarrod asks is the correct question to be asked of every human--why waste time on the temporary and material? In Plato's thinking, the material was not even real as it was subject to change and decay and passing. The only reality was in the realm of the ousia, the realm of idea and spirit.

Jarrod arrives at Plato's conclusion that the things of the spirit--love, friendship--are the true reality. To hold to the material is to hold onto what is sure to fail. Real love and friendship, however, are the things that last; even beyond disaster and ruin. Even earthly life passes but love endures past the grave, if only in the hearts of those remaining. That is part of everlasting life, too. We remain in friends' hearts even when our bodies have failed.

As the character Balian (Orlando Bloom) asks the memory of his deceased wife, "How can you be in hell, when you are in my heart?" 

The poetry of the lyrics is indeed worthy on its own merit but the music crafted around those lyrics speak deeply to the heart.

The opening lines, After that great storm/And everything we had was gone/All of our worldly possessions laid to waste/ As we stood there and we stared/In that  field of despair are introduced by very bluesy chord structure and piano playing. Reinhardt Melz provides accents that are stark and that enhance the overall mood of the opening and the middle. And Jay "Bird" Koder's guitar isn't a whine but a soft wail. It is heart-rending and the music drives home the power and pain of the images. Even the realization of the truth in the last two lines are almost hesitant, as if trying to convince oneself of that truth. "Everything I need" gets repeated almost in the sense of saying it over again to make the wisdom of the words take hold.

But the second stanza becomes reflective and self-critical in a positive way. How can we be so short-sighted as we grieve over lost things? We remain and our loved ones remain with us. What more is needed to find joy? The last three lines begin with  Idols do we make of all that we accumulate/ But they're just a souvenir and nothing to be revered  and this is the uphill climb to the truth which reaches a crescendo and then diminishes to the realization that they are "nothing to be revered" and then that line is repeated in a sad acceptance of wasted time and energy. It is well-crafted music that is well-inspired and is now so well done!

The third stanza begins by a retaining of the melancholy but it is not the sadness springing from lost possessions but of lost time. Jarrod's vocals with Bird's now preaching (in a good way) guitar and Reinhardt's triumphal drumming portray a rallying of the soul and the call to witness of loved ones near and far. The song which began as a lament becomes an anthem and declares that you are everything I need.

Now the line Everything I need is repeated three times to conclude the song. Where it was repeated once in the first stanza to impress the idea upon oneself, the three-fold repetition is a cheer moving past regret and through acceptance into pure delight.

When SoulMates perform the song, Jarrod calls the ending of the song by saying "Here we go!" and the music finishes in triumph. That call of "Here we go" has become an integral part of the song because it is also the call to a new way of thinking and a life of joy. It is the prophetic announcement to arise from the place of mourning and to journey into life and love.

The song is an emotional and gripping revelation of what is important and what is not. For as long as we remain in each other's hearts, we have everything we need. 

The next best thing to listening to SoulMates is listening to two out of three SoulMates. Those two were vocalist/keyboardist Jarrod Lawson and drummer Reinhardt Melz and they were performing together at Touche Restaurant and Bar located at 1425 NW Glisan Street in Portland (http://touchepdx.com).

The food is great and the service is very good. We didn't go for the food, of course, but rather to see Reinhardt and Jarrod. The food was a very pleasant surprise. While the space for the musicians was tight they were admirably placed within full view of the restaurant patrons. The acoustics carried well. Touche has done a fine job making room for the musicians.

It is always a pleasure to see these two in whatever line-up they may find themselves. But when SoulMates or 2/3 SoulMates are together, the wonderful happens. Sadly, we had arrived late but Jarrod and Reinhardt played late and I didn't feel quite so bad. Just being in the same room with these gentlemen is pleasure enough but to hear them perform the way they do is pleasure beyond compare.

Some of the most touching pieces of the evening including Bilal's When Will You Call which is rendered in heart-breaking soul singing by Jarrod. The song is moving in its original form but Jarrod's vocals and Reinhardt's slow brush-work make the song sweetly melancholy.

From the sad to the laid-back with Otis Redding's Sittin' on the Dock of the Bay, the mood is lightened to a wistfully lazy tune. It delightfully prepares the way for the wistfully sexy tune of Smokey Robinson's hit Cruisin'. Sexy to the extent that the brilliant and lovely Tracey Harris, a phenomenal singer in her own right, sat languidly with eyes closed as she drank in the sound. Now to captivate Tracey Harris with your singing, you have to have some major mojo in your favor.

However, she was also watching Reinhardt. She would open one eye to catch what he was doing and would usually just shake her head in astonishment...like the rest of us.

The surprise of the night for me was the old jazz standard that Reinhardt and Jarrod pulled out for the Touche audience. I have heard them do Gershwin's Summertime and that is an old standard, to be sure. The jolt was in their choice of an old Frank Sinatra hit, written by Jule Styne and Sammy Cahn, called I Fall in Love Too Easily. The song was written in 1944 and became a hit when Sinatra sang it in the 1945 movie Anchors Aweigh.

It just goes to prove what I have always believed and written about Jarrod Lawson--he can handle any style and he is not intimidated by the fact that it was Sinatra or anyone else who originated the hit. He takes on Stevie Wonder...and wins...or D'Angelo or Smokey or Bilal or even Eryka Badu. The secret is the conversion of the song from the original to his own styling of it. He can make any song work. As has been so often of Jarrod, "Everything he touches turns to soul."

But Reinhardt does the same thing. The next song is a good example of that. Fifty Ways to Leave Your Lover has that distinctive Steve Gadd groove which becomes the hook of the song from the beginning. In fact, it has been written that Gadd sold the song before Paul Simon even started singing. A good drummer can do that. Alan White's opening on the YES song Sound Chaser (from the album Relayer) comes to mind.

Reinhardt remains faithful to the Gadd groove at the opening but he pulls the rug from beneath Gadd's feet by turning the conclusion of the song into a samba. The original beat was the hook but Reinhardt's finish is an even bigger payoff. And he does it over and over.

The Colour of the Day was recorded by Remy Shands almost ten years ago before his disappearing act. If he has heard Jarrod's version, he will probably remain in hiding. Despite all the hoopla surrounding the original and all the awards and nominations Shands received, the original always left me a bit flat. Jarrod and Reinhardt pull the song, kicking and screaming, to a much higher level than ever before.

They even do that to my beloved Donny Hathaway. I Love You More Than You'll Ever Know now belongs to SoulMates, or any portion of SoulMates thereof, because Jarrod understands Donny so well. I don't mean the problems that poor Donny suffered; I mean he understands what Donny is trying to say. And Jarrod says it in Jarrod's own way. As I've said before, SoulMates have made me get clean out my record collection because those records have been rendered irrelevant by the superior SoulMates treatment.

Even in the midst of a great restaurant, a rowdy funk song is toned down to appease but intrigue the listeners. If You Want Me to Stay has moments of real power funk but Jarrod and Reinhardt strip it down to almost a ballad. It is the craft of fitting the piece to the audience and setting. It is the craft of musicianship. It is not pandering, it is propriety.

This is what true musicians do; they elevate without overwhelming. Jarrod and Reinhardt can educate while they are inspiring. They can raise the spirit and warm the heart and stimulate the brain. They create a complete experience centered on the music of the soul. We are made better by the music.

This is why we see so many people at the various performances and incarnations of SoulMates. There sits Randy Corby, Tracey Harris is sitting close to Reinhardt and we grab the table nearest them. We all want to be made better through the touch of their music... and we are never disappointed, even when it is 2/3 of them.

Wednesday, May 16, 2012 finally bore witness to what we had been hoping to see for months-- SoulMates were going to be playing at Quimby's on 19th and Quimby Ave(www.quimbysat19th.com). This was the place that everyone had been watching and awaiting as a possible venue for the band and music we love.

Quimby's had seen people stop by, peek in, and scout before finally the date was scheduled. To make things even better, the sweet and lovely Rhonda was now working there, having found a home there after the demolition of the beloved Candlelight.

There was the ever-hoped for chance that this could be the new Candlelight.

A call was put in to Lance Giles to inform him of the change of venue and day. Lance made the trip from Seattle for the special event. Everyone wanted to be there, showing up early to get prime seats and peruse the menu. We were soon joined by Michael and Theresa G and the Magaurns. Toshi and Adam would have to wait until Toshi was finished with his own gig before they could arrive.

Quimby's welcomed everyone warmly. Sarah was the perfect hostess and she detailed the plans that they have envisioned for the place to accomodate the music. The place is warm and the staff is just as warm. After the music ended, many of us stayed until 2:30 am and we were never rushed out or felt anything other than welcome and gratitude for being there. We could stay and talk about the music of the night. This was beginning to feel like it could be home.

When SoulMates began to arrive, with Jarrod Lawson always first to get there, everyone was chatting up the new site. Only one thing was left to check and that would have to wait until the music actually began...

And when it did begin, it was what we had craved: good acoustics and a good sound system. The first song proved it. The brick wall behind the band posed a challenge for a moment but with an adjusted monitor here and a repositioned speaker there, the sound was good for everyone, band and audience.

At this point, Lance Giles walked in the front door which resulted in a whoop from everyone...or maybe it was just me being loud all by myself.

The opener was a sweet instrumental and it set the finest of moods for the evening. After Jay "Bird" Koder's first guitar solo, Matt in the audience (himself a guitarist) commented aloud, "Man! That's the very first solo?" Then Jarrod Lawson followed with some of his most beautiful piano work. As I have often said, it is too easy to overlook Jarrod's keyboard playing because of his amazing voice, but Jarrod is a first-rate pianist. Never forget that.

Reinhardt Melz laid down the solid rhythm which were expanded into the following number, also an instrumental. From that groove sprung Jarrod's amazing turn at kicking bass and Bird's solo was just gorgeous. It was emotional. It was tender. It was what every grieving heart needed to hear.

SoulMates celebrated the first night at Quimby's in style with old favorites send out to old friends in a great new setting. Valdez in the Country was shouted out to Mikey G.  In fact, the SoulMates version should now be called Mikey in the Country. This song is a great showpiece for Reinhardt's stickwork and he always provides something new and exciting. It is one of Donny Hathaway's brilliant forays into jazz and SoulMates can work a Hathaway composition like nobody else can.

One Mo 'Gin is a great vocal piece for Jarrod. It is slow and soulful and Reinhardt provided such a cool groove to it. The slow ascent is stirring. The lyrics are inspired and meaningful and Jarrod makes it his very own.

Then Bird begins the spacey riff of Fly Like and Eagle. I will freely admit, I was not much of a Steve Miller fan when he could be heard on fm-radio about 20 times a day. It wasn't until discovering the early Steve Miller Blues Band that I appreciated his guitar performances. I came late to that party. But Jay "Bird" takes the Miller piece and runs it through the SoulMates soul-maker and "turns it on its ear," as the Bird puts it.

This particular night, the Bird just shreds the guitar solo. Now I dislike using musical cliches like "monster chops" or "hot licks" but shredding is the only way to appropriately describe what is happening. Especially...ESPECIALLY...when Bird is doing it with one hand while the other hand hangs loose by his side. Wait...what? Yes, a one-handed "shred."

Then comes the sweet return of Donny Hathaway with You Were Meant for Me. Trumpet great Paul Mazzio walked in at this point, just in time to catch the beautiful intonations of Jarrod's vocal delivery. Ah, but there I go again... Jarrod's piano skills are more than equal to the piece. Sometimes I just focus on watching Jarrod's playing. It is effortless in appearance but so emotional and so very warm.

There are not that many who can pull off the warmth in their piano playing. Mostly, when I think of piano warmth I think of Oscar Peterson...and Jarrod Lawson. The great Hathaway song was rearranged SoulMates style and Bird, Jarrod and Reinhardt took it higher than ever before. It's what they do.

The next composition is one of my very favorites of all SoulMates' originals. It was written by Jarrod and he had in mind the disasters that befall people and the realization that follows of what is truly important in life. The song, of course, is Everything I Need.

In a future article, I will devote the whole piece to this song. For now, however, let me say that this: the song is about finding the essence of what life is. It is about being in the presence of those we love.

This is the message that we can carry away with us; that it is not things but people that matter in this world. Relationships and not possessions are the things of the spirit and the soul. This was what Bird was saying to those in attendance--that wherever we go and in whatever situation we find ourselves in this world, we have everything we need when we are in relationship with our SoulMates/soulmates.

It is the sound of Jarrod's voice in our heads that can get us through a difficult moment. It is Reinhardt's full-throated laugh that turns away sadness. It is the light in Jay "Bird's" eye that banishes grief. Indeed, we have everything we need.

The rendition on this Wednesday night was simply flawless.

It was followed up by yet another composition of Jarrod's done in cooperation with Farnell Newton and Steveland Swatkins. The title is Everything is Clear. It can be found on Farnell's CD Class is Now in Session. Toshi and Adam joined the Quimby's audience during this moving piece. It was a well-timed entry as it gave them a moment to catch their breath and relax.

They moved on to the blues ("Because Krissie Magaurn loves the blues") with She's Right. Reinhardt was crossing up the groove in a cool, bluesy way and it was a pleasure to hear. Sometimes we get so used to the thunder and lightning of Reinhardt's drumming that we forget how subtle he can be. It is in those subtle moments that his unmitigated brilliance shines in a completely different way.

It was also a moment of Bird's sweetest guitar work. It is the downplay that makes one sit up and take special notice. It is as someone once said about a whisper being the best way to draw attention. So it was with the whispers from the trio at Quimby's. Those heartfelt quiet moments were overwhelming.

That sweetness remained in Lovely Day, another song that never grows old for me.  It was another moment of some of Bird's most intriguing guitar solos which was brought to a conclusion by one of Reinhardt's crash-stops. It was the final number for the first set and we were immediately struck with a feeling that the night just could not end. At least, we did not want it to end.

The break was filled with photo-taking and hugs and everyone was enjoying Quimby's and the home that they had provided. Those who usually would have departed after the first set remained for friendship's sake. Nobody was wanting to say good-bye and everyone stayed late.

The second and final set opened with Fifty Ways to Leave Your Lover. Reinhardt was working his magic in new and wondrous ways. It was the finest version heard yet.

From Fifty Ways... to Greatdayndamornin, a Lance favorite. It gets him up and dancing every time. Watching Lance dancing made me stop and look around at those gathered together. At our table were the wonderful Michael and Kris Magaurn, he the noble patriarch of the SoulMates family and she the Woodstock girl who is as adorable as she must have been back then. Toshi Onizuka, the brilliant fusion guitarist and dear friend was seated beside me and beyond Toshi was Adam Gloria who is one of the gentlest souls ever known. The Earlys were close by. Music fanatic Randy Corby was seated with Paul Mazzio. The lovely Miss Connie was beside my sweet wife Chieko. Miss Connie was the one who inspired the Bird song Man4U; she is the love of his life.

Then my sight came to rest on Michael and Theresa G. Two of the most inspiring people ever. He is an inspiration to me and she is a ray of sunshine. I'm sure she gets angry but I have never seen it or heard tell of it. I'm sure he gets down but he never speaks a word of anything less than light and love. Someday maybe they will let me tell you their story--it is worth hearing. I thought about how all of this began for Chieko and me; how it all began with Mikey G.

We were walking down the sidewalk in downtown Vancouver in March of 2011 and Mikey was standing outside his guitar studio. We were introduced to Mikey by a mutual friend and the friendship with him was instantaneous. We talked about music and Mikey invited us to join him on Mondays at the Candlelight to hear a friend of his "who has this band called SoulMates." I asked him who his friend was and he said, "Jay 'Bird' Koder." I knew who Jay Koder was! He had been with the Jeff Lorber Fusion, had recorded with Freddie Hubbard and Chick Corea, toured with the Steve Miller Band and the Doobie Brothers, and had been a member of the Stilettos...and on and on...

We went to the Candlelight the very next Monday and life would never be the same. I owe it all to Michael G.

I was brought back to the present when Bird asked me what the next song should be. The choice was obvious for me. It was the song that got my dear Chieko through a difficult week. It was the song that filled our heads and hearts with the sound of SoulMates. It was Stevie Wonder's Knocks Me Off My Feet. It is the sound of rejoicing.

I thought about the history of that song with Chieko and me. I then began to watch Bird and Jarrod and Reinhardt as each one contributed their mastery to this singular piece. I thought about the wonderful journey that life can be when you travel the road with people like Jay "Bird", Jarrod, and Reinhardt. When I think about them and what they mean to us...well, it knocks me off my feet.

The final song was Ain't Too Proud to Beg which was wildly fun and a riotous end to the evening's celebration. It was a great way to part company for a little while. To our delighted surprise, Jonah and Monica--the most adorable couple ever--burst in after the music was finished. Just because they wanted to enjoy even the last portion of sharing the night with everyone.

As I said, we all stayed late and talked about the music and the future and a fine place called Quimby's.

Here we were at a transitional moment when new possibilities opened and we were finding a home. We were welcomed by Quimby's but home is where we are together; where a person can have "great comfort in his friends on the long grey road."

It truly is... everything I need.