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Toshi Onizuka Trio at Paragon, featuring Victor Little...04.29.2012

4/30/2012

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Victor Little and Toshi Onizuka
Toshi Onizuka knows how to strike when the opportunity is hot because when Victor Little makes it back to his hometown of Portland, he makes the best of it. From a very hot concert called Victor Little and Friends, Past and Present on Friday, April 27 to Jimmy Mak's on Saturday to the Paragon on Sunday afternoon, Victor played magnificently with his Portland favorites.

When it was told that Victor would be with Toshi Onizuka and Reinhardt Melz on Sunday, it was clear that this was a treat not to be missed. Victor and Toshi were fantastic together on the Bitter Smile and Espresso tracks from Toshi's latest CD, When You Passed By. Sunday at the Paragon would provide an opportunity to see Toshi, Victor and Reinhardt Melz delve into other Toshi originals in addition to other classic Spanish and bossa nova tunes. And so it turned out.

It all began with Blue Bossa, the jazz standard that combines bossa nova with a hard bop. This was also a track included on Toshi's latest CD and Victor took to it with his usual skill and grace. Toshi seemed to kick into blues in yet another example of Toshi's example of the Zen teaching "You can never enter the same river twice." The riverbanks may be defined and the direction of the current may be established, but the water you wade into is never the same. In Toshi's playing, the time might be the same and the chords may be set, but the variables always make for a different experience. The truth is that even the times and chords may get shifted to suit what Toshi senses is right for the moment. A philosophy worth investigating.

Reinhardt plays it in the same way. As Victor holds the steady bass line, Reinhardt switches from brushes to sticks back to brushes, always perfecting the sound for the setting. Then Victor is given a solo and the five-stringed bass releases such smooth emotion as Toshi takes up the accompaniment.

This is the temptation, to watch the soloist so intently that one misses what the others are doing. I always enjoy watching a movie's background characters and action. Watching the integrity of supporting actors is the sight that gets me the most. To see how a performer carries on when the spotlight is on someone else is one of the real joys of watching art. I remember watching Jamal Wilkes moving without the basketball, or Cal Ripken, Jr. repositioning himself just before the pitch, or Toshi Onizuka switching to a support role as he makes space for Victor or Reinhardt. He is generous but he is not idle.

In performing The Girl from Ipanema, Toshi switched up the time to 6/8. Victor looked over, wide-eyed, at Reinhardt who smiled back knowing that working with Toshi is an adventure in sonic exploration. Last week, Toshi was performing Agua de Beber  and I barely recognized the song. I mentioned to him later that I had no idea where it was going and he laughed and said, "Neither did I for a minute." He said that to elecit a laugh because one always has the feeling that Toshi knows exactly where he is going.

It is wonderful to hear well-worn songs done so refreshingly new and alive. Old songs under new arrangements make for new songs and new experiences. And Toshi is accompanied in lock-step by Victor and Reinhardt. Part of the fun was watching Victor responding to the new direction as he sat during his solo with his heels clicking together like Dorothy trying to get back to Kansas. But Victor was right at home the whole time because he can follow a groove like few can.

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Victor Little
Besame Mucho (English: Kiss Me a Lot) is another old Spanish standard that has been covered by everybody. Written in 1940 by Consuelo Velasquez, a young Mexican woman who, at the time of the writing of the song, had never been kissed. From the Beatles to King Curtis to Herb Albert, it has been tossed around.

Under the Toshi treatment, it takes on a quality of desire that has not been seen before. There wasn't a lust in Toshi's version as much as an ache. Part of it is because he changed the key to D minor which completely changes the mood. The mood was almost spectral. There was a quality of reminiscence.

When Victor accepted the solo, he added to that whole sense even in his demeanor as he had a faraway look that made a person what he was remembering or dreaming or hoping. Toshi held down the melodic line through the whole solo and, when he resumed the lead, he punched in some jazzy turns as Victor walked it back alongside Reinhardt's brushwork.

Just when it looked like the song was going pretty straightforward to the end, Toshi became Segovia on LSD and kept up the twists without ever breaking the mood. Victor still had that faraway but contented look even as Reinhardt turned a whole new rhythm pattern that pushed the song past the 12 minute mark. It became a samba as Victor and Reinhardt punched up the rhythm section and Toshi evoked images of hot nights in Rio de Janiero. This was not the Besame Mucho that Paul McCartney crooned. 

Victor then took part in some of Toshi's originals--Hypocrisy and When You Passed By-- and took to them like he had been playing them since childhood. From these to Agua de Beber, then to Black Orpheus which is a poweful piece. Reinhardt lays down a groove that Toshi and Victor easily fall into. A stirring, emotional experience. Reinhardt is the foundation of what transpires here in this song.

As I have written before, Reinhardt Melz is my favorite of all Portland drummers, maybe all drummers everywhere. He is without equal in drumming skill and rhythm. He also plays tonally, melodically. But like Toshi, there is a quality about the man himself that draws you. When he laughs, it is full-faced and contagious. When he concentrates, you find yourself listening for what it is that he is hearing. His movements are subtle. "Artistic," as my wife would say. There is a deep loyalty inside of him to the music, yes, but most especially to those with whom he performs. He refuses the spotlight when the spotlight does not advance the music and he makes room for others. Reinhardt and those with whom he associates seem to share the virtue of selflessness. In hearing Reinhardt perform or in hearing him speak, you learn something about him and you learn a lot about yourself.

With Victor Little sitting in, the give and receive of great musicians performing great music is a wonder to witness. Victor is a warm-hearted man whose smile and ease almost immediately draw you in and embrace you. He is a gentle man and a charming man.

To begin the last set, Toshi eased into Light in Shade. I realize that I have written a lot about this song. It has great depth and meaning for me and it energizes and encourages me with every hearing of it. Please indulge my going into it again because, with the addition of Victor's improvisational lines, it becomes something new yet again. In fact, during Victor's solo, Toshi could be heard in agreement with "Yeah-h-h-h-h!"

This song is like reaching enlightenment. There is a pull to the music that carries you further and further along until labor and effort cease and you are borne aloft simply by the melody. You stop actively listening and you fall into meditation. This melody is like a stream of joy and it remains even when the music has stopped. It is a changed life that is at the heart of this piece. Every time I hear it, I am not the same as before. Joy is created and enhanced and life is reborn once again.  

The feeling continued into and through the two concluding numbers. Even an entire performance can be transformed by the beauty and harmony of one simple song. Toshi Onizuka's composing and performing are vehicles for transformation. I am changed everytime I listen with an open heart.

Toshi and Reinhardt are voiceless teachers. They teach with sound instead of words. This is what draws me back week after week.

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Broken Strings and Other Things at Paragon... 04.22.2012

4/24/2012

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Jon Hughes and Toshi Onizuka
Watching musicians overcome adversity is always an intriguing thing. It could be acoustical problems, equipment problems, even physical problems, or worse...all of the above.
Sunday at Paragon saw a couple of those problems surface but, fortunately, not all of the above.

From the opening beat laid down by drummer and percussionist Reinhardt Melz, one had the feeling of "Ohhhh, yeahhh..." Jon Hughes' bass was jumping and Toshi Onizuka already was biting his lower lip, a sure sign of being in the groove. But before the song was at the midway point, it became clear that Reinhardt was having difficulty hearing Toshi's guitar.

What was interesting was how Reinhardt compensated for the acoustical problem without stopping the music altogether before the song ended. Being the musical perfectionist that he is, Reinhardt was not going to simply struggle through the song but instead picked up Toshi's beat visually. He watched Toshi's foot as Toshi kept his own time with the up and down motion of his foot. The piece was undisturbed as Toshi kept wailing on his Spanish guitar. Toshi has learned in his experience wih flamenco that strict timing is everything and he does not fail in it.

Before they began the second piece, Una Carta de Amor (A Love Letter), the speakers were adjusted a bit and everything seemed fine until it became clear that the shifting had put Jon's ear right next to Reinhardt's crash cymbal. So, Reinhardt again compensated by only striking the bell (the centermost part) of the cymbal and not the surface, as is normal and louder.

The compensation worked for everyone and the piece concluded beautifully with Jon's eardrums intact.

From there, Toshi began the next piece with a most exquisite introduction. I confess, I had no idea where the song was going but was pleasantly surprised to find that the song being introduced was one of my favorite bossa nova pieces, Agua de Beber by Antonio Carlos Jobim. But this was not the typical arrangement for the song...not at all. Toshi's arranging of the song was an improvisation and it was a clear indicator of his skills as performer and composer.

Fortunately, it was recorded and is available on YouTube below. During the peice, Jon's string broke on his bass. He was able to compensate through the end by playing vertically instead of horizontally and, once again, the music triumphed.

But with the song concluded, Jon excused himself to change the string, leaving Toshi and Reinhardt to continue with a jam that can only be called A Jam for Jon. Toshi recorded and looped his scratching on the guitar string that sounded like the playing of a guiro. Jon had left the building to retrieve the proper string and Toshi and Reinhardt combined a medley for the jam including Tito Puente's Oye Como Va, Luis Banfa's Gentle Rain and Deep Purple's Smoke on the Water. Toshi jumped from one hot number to the next effortlessly. It was a 20 minute improvisation that took them to the end of the first set.

When they returned, with Jon's bass again intact, they began the second set with When You Passed By from Toshi's second CD. Reinhardt was using doubled sticks for a cool groove that brought a big grin from Toshi. Jon added a popping bass line and the result was a very appreciative audience.

Following Blue Bossa, the trio launched into Hypocrisy which is one of Toshi's most lyrical and melodic compositions. During this performance, however, Reinhardt threw in a funky groove that actually made Toshi turn his head away in suppressed laughter. Reinhardt then turned the funk into his own melodic drumming and the coming together was dramatic and beautiful and haunting.

By this time, the great percussionist Bobby Torres had entered with his wife and took up a booth close to Reinhardt. When a great musician takes a seat in the audience, the performers always seem to take things up a notch...or two.
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Reinhardt Melz
Difficult Flower, with a difficult 5/8 time, began the third and final set. The drum work by Reinhardt was smoking. Toshi was on fire, as well. This was Toshi's own composition and he plays it with all his heart. It is very nearly as lyrical as Hypocrisy and it is equally intriguing. Bobby Torres must have approved as he was smiling broadly during the listening.

When that workout was finished, Toshi breathed out and said to Jon and Reinhardt, "Let's do something easier."

It is not to say that a master, even legendary, musician in the audience is a problem to be overcome but it is a test of how musicians respond. The Toshi Onizuka Trio responded well.

In the 6/8 time of Gentle Rain, Jon and Toshi were beautifully in sync with each other and they did climb up another notch or two. Jon laid down a very nice bass line and Toshi's melodic guitar was sweet. Toshi is a musician beloved by other musicians. He can play at almost any level of virtuosity and he is a cherished performer and composer.

During Gentle Rain, Bobby Torres was keeping time by slapping his thighs as he sat in his booth. His broad grin revealed his enjoyment.

Toshi was enjoying the rhythm so much that he gave up his guitar in favor of palmas during Reinhardt's solo. As Toshi never retrieved his guitar, the solo became an extended one until finally Reinhardt started counting them back with a heavily stated "One..two...THREE..." and Toshi was forced to snatch up his guitar again and continue. This was pure enjoyment for musicians and audience alike.

As the final song was under full swing, Bobby Torres and his wife got up from their booth and before leaving, Bobby looked Toshi in the eye and gave him a solid "thumbs up" with a broad smile and then he left the room.

The trio finished beautifully. A beautiful afternoon full of broken strings and butterflies and Toshi Onizuka never losing his ear for the sound he wanted to create.

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If Banfa and Blackmore Got into a Bar Fight... 04.15.2012

4/18/2012

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Jon Hughes (L) and Toshi Onizuka (R)
Part of the fun of watching Toshi Onizuka is his relentless, even merciless, combining of different styles of technique, composition and execution. Not only is it his playing, but the musicianship of Jon Hughes on bass and Reinhardt Melz on drums allows Toshi the freedom to push beyond borders.

Jon Hughes, for example, never plays over the top but always plays understatedly and supportively. He hangs onto the rhythm and this is no small effort when playing in the same rhythm section as Reinhardt because Reinhardt will take the groove into places that no one expects and few can follow.

In fact, one bassist was heard to remark during a break "I need a cigarette! Playing with Reinhardt just messes with my head."

Toshi, however, thrives in this heady environment and pushes the compositions to places that few others will take them. Again, he combines pieces and even genres and creates a fascinating sonic synthesis that is not only intriquing but is also satisfying.

For example, Blue Bossa--the opening piece--crosses from bossa nova toblues to jazz to (almost) salsa, then back around again. Because of Toshi's flamenco training and influences, Jobim's Agua de Beber (Water to Drink) is played bossa nova with flamenco stabs. Meanwhile, Reinhardt provides all the percussion anyone can ask. The one-handed roll on the cowbell was fun stuff. And here is how you know they have found the groove: Toshi bites his lower lip, Jon's mouth flies open, and Reinhardt chews on his lip. Oral evidence notwithstanding, the sound was enough to reveal the groove. As the song was coming to a close, Toshi's guitar took on a haunting dissonance that even shut up the talkers at the bar. Astonished silence.

Luis Banfa's Gentle Rain has become a stand-by but it took on a different emotion and tone on this particular Sunday. The funky bossa nova had Reinhardt grinning as Toshi worked his effects pedals to make it sound more like Ritchie Blackmore than Luis Banfa. Truth be told, as the song concluded with a nod and a wink to Smoke on the Water, it sounded more like Banfa and Blackmore had gotten into a Sao Paulo bar fight replete with profanities and shouts from the onlookers. In fact, a passerby on the sidewalk outside had stopped dead in his tracks and was staring, open-mouthed and wide-eyed, at what was going on inside.

Girl from Ipanema opened with the most amazing introduction. I looked at my wife and said "I can't see how he is playing that!" I could not see what fingers were playing which strings. It was cool and contained false echoes without the use of effects. Once again, the tight-lipped smile let everyone know that all was as it should be. Then Reinhardt's interlude had Jon Hughes looking to the sky for some deliverance that never came. Toshi picked up from Reinhardt's relentlessly demanding rhythm playing bent strings to create the sense of longing that made the song so enthralling in the first place. Although the lyrics are never heard in Toshi's Trio instrumental, they do give the sense of what emotion is conveyed in the song.

"Tall and tan and young and lovely/The girl from Ipanema goes walking/ When she walks she's like a samba that
Swings so cool and sways so gentle/ That when she passes, each one she passes goes/ "a-a-ah!"
But each day when she/ Walks to the sea/ She looks straight ahead not at me/ The girl from Ipanema goes walking
And when she passes I smile, but she doesn't see/ She just doesn't see/ No she doesn't see..."

The story goes that then-17 year old Helo Pinheiro used to go to a bar everyday to buy cigarettes for her mother. She was a 5'8" brunette beauty that made all the men in the bar stop their conversations as she walked past. The bar is now a restaurant and next door is a boutique called Garota de Ipanema which is owned by now-64 year old Helo Pinheiro. Nicely full circle.

The melancholy and emotional Hyporcrisy followed with that to be followed by my personal favorite Light in Shade. With Toshi's permission, I recorded Light in Shade on my iPhone and have posted it on YouTube with the link below. This is the song that stays with me and one of the songs I want played at my funeral (along with John Lennon's In My Life). Listen to the music and you may understand.

Toshi never plays this song the same way twice. Jon has a cool bass line and Reinhardt has these wicked beats. The song has everything a person could want. The sound of dropped dishes in the background adds to the percussion. Not really.

Toshi has said that his influences were Al DiMeola and Paco de Lucia. It is evident in his playing that he has learned the precision of Paco and the dynamics of DiMeola. Come see for yourself on Sundays at the Paragon with the Toshi Onizuka Trio. Brent the manager and Kate the server have created the perfect Sunday afternoon/evening spot for music. Nothing better.
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Jobim Remembered at the Paragon... 04.01.2012

4/2/2012

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Toshi at Paragon
Although Toshi Onizuka's Trio were the performers at Paragon on Sunday evening, Antonio Carlos Jobim was the unseen star. Jobim, also known as Tom Jobim, was the man responsible for popularizing the bossa nova jazz style. Bossa nova became a world-wide sensation after the release of the 1959 film, Black Orpheus. He was most famous for his song Girl from Ipanema which is one of the most recorded songs of all time.

On December 8, 1994 after recovering from surgery, Jobim suffered cardiac arrest and a second cardiac arrest two hours later. His last words were "Remember me." Thanks to the Toshi Onizuka Trio, Jobim was well-remembered at Paragon.

The evening began with one of my favorite Jobim compositions, Agua de Beber. The performance featured Reinhardt Melz on the drums with very subtle brushwork. Jon Hughes also carried the melody into the bass line with great understated grace. Toshi Onizuka's flamenco skills laid over the bossa nova structure created a fragile but head-popping interpretation.

Luiz Bonfa, a collaborator of Jobim's, was featured in the following song, Gentle Rain, which was also from a movie soundtrack from 1965. This piece is also featured on Toshi's latest CD, When You Passed By. There was great interplay between Reinhardt and Toshi and the nylon strings were the perfect medium for this bossa nova hit and a tongue-in-cheek outro was a nod and a wink to Deep Purple's Smoke on the Water.

The title track from Toshi's latest CD was on display and highlighted the passing of the melody from Toshi to Jon Hughes on bass. Jon has become one of my very favorite Portland bass players. And Portland has a number of great bass players!

Jon does not overplay and he knows how to maintain a subtlety that accentuates the melody. This song, When You Passed By, provided a fine glimpse of that. Reinhardt's keeping of the Andante tempo was a perfect pace for a song that conjures images of a girl walking past.

One guy in the audience then called for "Jobim!" Obviously, he had come in late. He was answered with Girl from Ipanema, although Toshi called to the guys, "Let's do it funky."  Reinhardt put aside the brushes and grabbed the sticks. Even though bossa nova is funky in its structure--it emphasizes syncopation and focuses on the second beat--Reinhardt can make the funky even funkier. Then he moves from funky to dirty. The thing about Reinhardt is that he offers all these cool fills and ghost strokes but he shows it to you only once. If the golden rule of performance is "leave them wanting more" then Reinhardt fulfills the law.

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Percussionist Al Martin with Reinhardt and Toshi
Al Martin, who also appears on Toshi's CD, was in attendance with his wife Catarina New and came to speak to Reinhardt after the first set. Always a treat to see great musicians talking.

The second set featured another Jobim hit, Black Orpheus. Reinhardt got a spotlight solo and Toshi accentuated the rhythm with his Palmas contribution, Sordas style. Palmas is the flamenco hand-clap percussion that can be played fuertes (hard) or sordas (soft) with the hands cupped to soften the sound but still provide accompaniment to the rhythm.

Hypocrisy followed and was easily the most emotional piece of the evening. It contains a moving melody with stirring chord changes. It was almost enough to make me forget the tiramisu.

Festejo is a Peruvian rhythm and allows for splendid improvisation and the trio seized the opportunity. I kept thinking that I didn't know this song and wondering why only to discover that the song was completely improvised. No wonder.

I have said it before and will say it again. Light in Shade is my favorite Toshi composition. In fact, it has become one of my favorite pieces of all-time, ranking right up there with Jay "Bird" Koder's Man 4 U and Jarrod Lawson's Everything I Need. Toshi's song is one of those delightful songs that stick in my head. I mean that in a good way, not like It's a Small World that makes you want to follow Van Gogh's example. I mean, there are times that I wake up with it in my head. It was inspired by meditation and the song itself provides a focus and a vision like meditation. It is something that Jobim himself would admire.

If the spirit of Jobim was anywhere near, he knew that he was remembered this Sunday evening. Too bad he can't try the tiramisu; it is to die for.

Sorry.

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When You Passed By... NEW CD from Toshi Onizuka

4/1/2012

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There is no way to pigeon-hole Toshi Onizuka’s guitar playing. He moves from bossa nova to jazz to Spanish guitar with great fluidity and ease. He can play with that percussive flamenco punch but the melody is never sacrificed in his playing. Even at his punchiest, Toshi keeps it close to his heart.

His song selection and track arrangement tells a story and Toshi's  musicianship and from all the contributors makes it a tale worth hearing. 

1 - When You Passed By (composed by Toshi Onizuka) Dave Captein on bass, Al Martin on percussion, Toshi on guitars. The song opens with a slick slide guitar. There is nice interplay between the Spanish guitar and the slide like the back and forth between the watcher and the watched in a pass-by
encounter. The slide gives a playful feeling of some guy’s tongue hanging out as he watches the object of his attention go by.

2 - El Chipiron De Triana (composed by Toshi and Matias Trejo - lyrics) Trejo provides the Rap Andaluz in a lusty, gravelly voice. Al Criado’s bass is a cool underpinning of the piece. Toshi’s guitar is added percussion to the throbbing pulse of the work. This is fun and playful stuff!

3 – Let Me Think (composed by Toshi) Damian Erskine, bass and Al Martin, congas. There is a beautiful, daydreaming feeling. There are some sweet chord changes here and the movement within the song is inspiring and uplifting. Erskine and Martin provide understated bass and rhythm which enhances the piece splendidly.

4 – Espresso (composed by Toshi) Recorded at Toshi’s house with Reinhardt Melz (drums) and Victor Little (bass). The sounds of the coffee beans being scooped and ground followed by the pouring of the coffee and the spoon rattling in the cup set the rhythm for the opening of the song. This is the first appearance of Reinhardt on the album who sets a cool groove punctuated by Little’s punchy bass line. Toshi also trades percussive licks with Reinhardt during Little’s swift bass solo. Toshi pulls the piece back into a percussive melody like few can.   

5 – Wave (composed by Antonio Carlos Jobim) Toshi solos on this one. There is a subtle eight note nod to The Champs’ Tequila in the middle of this Jobim classic; the man who practically invented bossa nova. The sound of flowing water provides the backdrop. The song fades out to Smoke on the Water. From Jobim to the Champs to Deep Purple! What a ride.

6 – Pipeline (composed by Bob Spickard and Brian Carmen) Ryan Stabach (drums) and Toshi (guitar and bass). Pipeline
become a bit of a surf rock classic. The tune has been covered by Lawrence Welk, The Ventures, Agent Orange, Dick Dale, Anthrax, Bad Manners, and Johnny Thunders. Toshi roars through the song with the greater speed than even Dick Dale but stills colors the piece in his own unique sound. It is the most fun track on the CD. It may not be my favorite track, but the most fun. In case you don't remember the song, below is the link for The Chantay's original version. Try not to get distracted by the surfing videos.

7 – Difficult Flower (composed by Toshi) with Damian and Reinhardt as the coolest rhythm section you would ever hope to find. While the rhythm section keeps the solid backing, the front work on Toshi’s guitar is complex but alternating between grace and fire; legato then staccato. The melody line is memorable.

8 – Gentle Rain (composed by Luiz Banfa) Toshi plays it all: guitar, bass, shaker, cajon and frying pan. Banfa’s classic has found fresh breath under Toshi’s playing. The original had honestly become a bit dated and sounded like a 60’s movie soundtrack. Oh, wait…it was a 60’s movie soundtrack! Toshi brings it right to the present and gives it his own heart and touch.

9 – Song for Fighter (composed by Toshi) solo guitar. Shortly after the March 11, 2011 disaster in Northern Japan. His dedication is to “everyone who follow a thorny path.” This is my favorite track of the album. It is not a cheer or an encouragement but a consolation. There are moments of utter heartbreak followed by moments of hope. The song fades on a sad but optimistic note.

10 – Bitter Smile (composed by Toshi, Lyrics by Tracey Harris) Tracey Harris is the vocalist with Farnell Newton on Flugelhorn. Dave Captein on bass, Al Martin on percussion, and Toshi on guitars. Tracey’s vocals have a Basia quality. As always, Farnell
Newton provides an excellent horn insertion. Toshi’s guitar is as quick and fleeting as a bitter smile. The vocal harmonies are rich against Toshi’s aggressive guitar. This is a surprisingly addictive song.

11 – Tu Lo Sbias (composed by Toshi) Jon Hughes on bass with Israel Annoh on congas and bongos. Israel Annoh is the great drummer from Ghana and Jon Hughes provides an even and melodic bass. Jon is a subtle player and a gentleman. Annoh and
Hughes allow a lot of room for Toshi to explore beautifully. Such rich melody and warmth.

12 – When You Passed By / Sunset Beach (composed by Toshi). This reprise is with acoustic guitar instead of the slide. The difference between the opening version and this closing version is the difference between attraction and attainment. It is no
longer the wild speculation but satisfying realization with all the moments that have gone between. It is almost a remembrance of that first sight, looking back to the first attraction after years of life together. The recorded wave sounds of Sunset Beach provide a welcoming backdrop to the emotions of the sweet melody.

Toshi Onizuka cites his influences as Al DiMeola, Paco de Lucia and Django Rhinehart but he is not limited by mere impersonation. Toshi follows his own sound and creates that sound with every melody and phrase that issues from his guitar.

This is a fulfilling album.


Toshi's CD can be purchased at CDBaby here: http://www.cdbaby.com/cd/toshionizuka2 or at any of his live performances.
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    Travis began studying music at the age of seven and has continued that study for his whole life. It remains his first, best love.

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