As a teenager, Toshi Onizuka was inspired by western guitarists like Al Dimeola and Paco de Lucia. He began to study on his own and was soon consumed with the music of the guitar. Born in Tokyo, Toshi soon realized that he could not follow the sound in his head without leaving Japan and going to the place where that music was played as part of the culture.

In 1993, Toshi left Japan for Seville, Spain where he would learn and practice and develop his own style and sound. He remained in Seville for over five years and absorbed the music of Spain, travelling to distant parts of Spain and even to Morocco. For two years, he performed and toured with Pata Negra, an internationally renowned Flamenco-fusion group. The captivating rhythms of his playing can be traced to these roots.

His first CD, entitled “Toshi,” was released in 1997. Toshi himself composed and produced the songs on the CD, while being joined by musicians from Spain and Brazil. In Toshi's later CDs, the sound of Brazilian samba and bossa nova are clearly heard. He had truly become a "fusion" artist.

Toshi now makes his home in Portland, Oregon. His association with Portland's great musicians has expanded his play and his opportunity to further pursue the sound in his head. He has recorded with singer Gino Vanelli and with fusion pianist Mike Prigodich. He has been featured in many Oregon Music and Arts festivals and has appeared on numerous television and radio specials.

Toshi's second solo CD, “Voy Con Fusión,” was released in September, 2008. This was a superb example of his fusion of flamenco, jazz, rock, and even hip hop. His third solo CD was entitled “When You Passed By” and was released in March of 2012. Both of these magnificent recordings featured contributions from Portland's bullpen of great musicians including drummer Reinhardt Melz, bassist Damian Erskine, percussionist Israel Annoh, vocalist Tracey Harris, bassist Jon Hughes and so many others.

Toshi defies categories. "Fusion" remains the best, most accurate, description of his play but even this is found lacking when he breaks into a traditional piece such as “Besame Mucho.” Fusion, traditional Spanish, jazz, bossa nova or rock, Toshi plays them all with sublime musicianship and heart.

This is the main character of Toshi Onizuka's musicianship; it is his warm heart that provides the rhythm to his supreme performances.

That warmth is nowhere more evident than on his 2014 release, “What a Beautiful Day.” It is dedicated to Tomoko Yamaguchi “And to others who face cancer.” It is a solo release and it gives a longed-for glimpse into Toshi at his very depths.

The first track is the title song, “What a Beautiful Day,” is performed on a custom-made Spanish Guitar crafted by Kerry Char. The song fades in with gentle background strumming to be joined by a delicate Spanish-style pick-strumming.

The imagery is unmistakable in its depiction of a sunny, warm day—more like Spain than Oregon. The clear picking casts an exquisite and impressionistic melody.

“Blue Eyes” is the second track and features Toshi playing the Ovation 1984 Limited with its clear tones. It is a melancholic romance with that splendid Ovation uniqueness for just such a mood.

The delicate finger-work that is so indicative of Toshi’s guitar-craft is in vivid color on this piece. His quick runs are virtuosic and lyrical all at the same time.

That Spanish Guitar and the Ovation are both employed and are joined by a KAMAKA 8-string ukulele on “No Answer.” The theme is as unfulfilled and as haunting as the title implies. The skip-strumming also paints a picture of unrequited approach. There is a longing and an insistence in the piece that Toshi is a master of portraying in its barest, agonizing simplicity.

The fourth track is “Una Carta de Amor” and is one of Toshi’s most lovely compositions. It plays like a song of remembrance. After all, the title means “A Love Letter.” There are charming chord changes in this captivating melody. The switch to samba at the end is a sweet segue into “Why Do We Fall in Love.” That piece also employs the KAMAKA 8-string with the 1984 Ovation and a Silvertone Vintage Acoustic Guitar.

The Andante strumming of “Why Do We Fall in Love” sets a backdrop for the conversation pace and tone of the Silvertone. The title and the piece itself ask the unanswerable question. The probing, soul-searching inquiry reaches great depth while finding no answer. Still, the question is a worthy one and the searching within the piece is an adventure worth taking.

Toshi’s albums are reflective and autobiographical in so many ways. “Unerasable Memory from My Mind” carries a heavy load of loss and the heart-break of the song is unrelenting. It is the unforgettable love that does not diminish or pass away no matter what may befall.

It is forever sweet but also it is forever sad. The sound reveals the soul as only Toshi Onizuka can unveil. This is another characteristic of Toshi’s composition and musicianship; he is a revealer and a reminder of what lies so deep within the hearer. He holds a mirror up to the self.

Toshi composes from the heart as warmly as any composer. So much so that each album is like another chapter in his own tale. The song “Hypocrisy” is in just such a vein. With the Spanish Guitar and Ovation again, he conjures images of all the betrayal one can bear. The picking is, at certain moments, as shrill as the disappointment that he portrays.

One of the most emotionally lavish pieces is the eighth track entitled “The Earth, the Ocean and the Sky.” It is the only piece with vocals on the album. The lyrics were written by Candace Shutter, Toshi Onizuka and Okaidja Afroso and it is Afroso who sings those lyrics.

The lyrics are mesmerizing and Afroso’s vocals are breathless and inspiring. The melody is almost a lullaby that, with those vocals, create a true song of innocence.

One of my very favorite pieces on the album is “Midnight Cruise in PDX.” A tone poem, if there ever was one, it is a flawless description of that midnight drive through Portland. The lights of the city reflecting off the waters of the Willamette River, the hum of the tires over the metal grating on Portland’s many bridges, the rhythmic thump rolling over the road joints—all captured by Toshi’s strum patterns, pickings styles and Las Palmas clapping. It is a memorable piece, indeed.

“Hawaiian Style” is played on the custom Spanish Guitar only. It is the shortest track on the album. That in itself calls to mind a picture of the oh-to-brief smile. Short but delightful.

“Light in Shade” is one of very favorites songs of all-time and is certainly my favorite Toshi piece. And that is saying a lot. There is no other song like this one. The sweet opening pauses, then surrenders to the most wonderful melody, chord changes, rhythms and memories one could ever hope to find.

“Light in Shade” is just amazing. I have never had a piece of music so easily move me. Before now, it was the YES song “Awaken” that had that claim on me. While both songs are introspective and emotional, “Light in Shade” is purely instrumental without the interpretation of lyrics. The song is precise, almost mathematical. After sitting in with Toshi’s trio for a live performance, bassist Victor Little said of it, “it is a demanding piece to play but it is also incredibly warm and emotional.”

“Light in Shade” plays it so emotionally that it is impossible to describe. During one live performance with his trio, Toshi's intro was moving and graceful and one could see his regular bassist Jon Hughes with eyes closed listening, while drummer Reinhardt Melz had his head bowed as they both let the melody and the movement flow over them.

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.  


It is like a long gaze into a clear pool of water. On the surface is one's own reflection, but looking past that, one can see straight to the bottom with all the wonders so clear for observation. That is the light in the shade--to see what is usually obscure, especially to ourselves.

The album closes out with “Utatane (Doze).” It is played on the Spanish Guitar, the 1984 Ovation and the KAMAKA. Very much a song of repose and relaxation, “Utatane” is a poetic description of a siesta or a daydream or a nap. The song is perfect for such languid luxuries. The duo of ukulele and Ovation is like being on the cusp of wakefulness and dreaming.

Just like the whole album.



Visit Toshi's web site at: www.toshionizuka.com

Purchase "What a Beautiful Day" on CD or MP3 by following the Amazon links below:

It has been over a year since my wife and I moved away from Portland and the wonderful music of that place. We have missed our friends and the places we visited weekly in order to see them perform. Every Sunday afternoon-evening saw us at the Paragon in the Pearl District of Portland to see Toshi Onizuka's trio of Toshi, Jon Hughes and Reinhardt Melz.

The pain of being away from them has been excruciating. We have come to a place where there is limited live music and none of it is the jazz and soul that we so enjoyed in the Rose City.

Fortunately for my wife and I, our dear friends have not forgottten us and they have reached out to us in a wonderful and meaningful way.

We have made it a ritual of affection to always send a text message greeting before a performance of our beloved SoulMates and Toshi Onizuka Trio. This means that every Sunday afternoon, we are texting a greeting for a good show to Toshi and Reinhardt and Jon (through Toshi and Reinhardt). Today, they sent us the best greeting imaginable...

I had left my iPhone in the other room and did not hear the Facetime request call from Reinhardt. Nor did I immediately receive the above photo from Toshi with his greeting of love. I couldn't believe that I had missed Reinhardt's call so I called him and he answered! While they were in their third and final set! While he was playing drums!

There was only 20 minutes left in the third set but Reinhardt set up the Facetime call and placed his phone on the front and center table that Chieko and I occupied every Sunday at the Paragon. Oh, my God... we were home again, if only for 20 minutes. We were home!

Separated by 1700 miles and two times zones, we were able to attend the music of dear, dear friends live and at our special seats. We got to hear two songs and one of them was "Light in Shade." If you have read this blog at all before, you must know what that song means to us. In fact, Toshi calls it "our song." So do we.

As soon as Toshi played the opening notes, tears started to flow. Reinhardt's incredible rhythms joined in as well as Jon's jumping bass line. It was all so familiar and all so warm. Their smiles were so wide and their cheerfulness so lively. Chieko said that this dose of being with these friends we love was enough to energize her and give her strength when energy and strength have been so hard to find.

Jon was his usual wonderful self. His laughter is contagious. His humor touched us. There are so many stories to tell about Jon.

The amazing Toshi thrilled us again with "our song." In his quiet way, he spoke so much with so few words and a healing smile.

Our beloved friend Reinhardt. He showed us love in such a profound way. He always stays in touch with us. And tonight he brought us home.

We really love you guys.

What a delight to share music you love with people you love, especially when the music is heart-warming and the product of great musicians. Such was the day on Sunday, May 20, 2012 at the Paragon.

We had taken friends to see Toshi, Reinhardt and Jon, with the added treat of knowing that Geli (Angelica) Wuerzner was going to be there. Geli is a versatile violinist who knows how to listen and when to speak. She was visiting from Seattle and we were privileged to hear her play with Toshi's Trio.

The set opened with Go With the Flow and this certainly must be bassist Jon Hughes' theme song by now as it is required of him week after week. The song begins gently and then becomes laid-back romp. Our dear friends who accompanied us were taken right away. And who wouldn't be? The piece highlights the vituosity of all three musicians and is well-named because that is all that is left the listener--just go with the flow.

Moliendo Cafe follows next with its punchy opening that expands into a truly intriguing work of alternating rhythms and cut-current melodies. Drummer Reinhardt Melz is allowed great room for percussive exploration and he never leads one astray.
In fact, Jon Hughes has said that he has worked with drummers who departed from the rhythm because they were lost. "But with Reinhardt," he says, "you just follow him because he is never lost."

From the sturm und drang of Moliendo Cafe, the mood retreated to the pastoral feel of Banfa's Gentle Rain. It is one of the most easy-going pieces of the set list. It is reflective and sentimental, in a good way. But the finale is a raucous wind-up which settles back to a slow, cool conclusion.

On the article of May 13, I wrote the following:
"But the most intriguing moment of the day came with the bossa nova standard Agua de Beber. When Toshi called the tune, Reinhardt opened with a totally unexpected beat and Toshi excitedly said, "Yeah! Let's go wtih that!" Reinhardt cocked his head and said , "Really?" Toshi was convinced that Reinhardt was on to something. And he was right.

This groove was the rhythm to top all rhythms. This funky-meter pattern was intoxicating. You wanted more and you didn't care what the results were. Toshi and Jon were onboard all the way. Composer Tom Jobim could never have envisioned this! Jobim's bossa nova had run headlong into a Robert Glasper groove and Agua de Beber will never sound the same."

I am happy to say that such is the case. When the trio played the piece again this week, it was with the now-entrenched "Glasper beat." It was as breathtaking as the first time I heard it.

The first set concluded with Black Orpheus which just never gets old. In fact, it is not allowed to age because Toshi, Reinhardt and Jon keep changing it up from week to week, creating a new song every time. This week Toshi added the palmas to Reinhardt's brilliant solo. The rhythms created by Reinhardt are like your heartbeat if you are running through the lightning while being chased by a tiger.

The first set ended with everyone present definitely wanting more. Our friends were wide-eyed. We had told them that they would enjoy themselves but they had no idea just how far over the moon they would be taken. 

The second set began with Geli now sitting in with the Trio for a cool cover of Samba Pa Ti. As I stated, Geli is a good listener. She did not know the song but took the time to play along with the chords and pick up the movement so that, when she did contribute, she nailed it.

She is funny, she is smart and she knows how to move within the structure of the music. She has great harmonic intuition that can take a song unknown to her and make it sound as if she has played it for years. She did it again for the 6/8 Blue Bossa and she repeated it all evening long.

When Blue Bossa concluded, Jon called for Dust in the Wind which brought guffaws from the audience. Fortunately, that was not what followed.

What did follow was When You Passed By. Again, Toshi made room for Geli's interpretive addition and it was rewarding. Even if she did not know the piece, Toshi simply encourages with "You can do it."

Toshi encourages with words and with his music.

One of our friends was tired when we arrived and we were not sure if she would be up to staying for the whole three hours. By the end of the second set, she had renewed energy and announced that we were going nowhere.

The Andalusian 6/8 Improvisation was so fascinating that even the comatose could find enough energy to stay on. The mighty groove of the improv found Reinhardt and Toshi in complete cooperation with Reinhardt's drumming and Toshi's thumping on the guitar's body. Intoxicating.

The applause was thunderous.

The old standard Besame Mucho slowed everyone's heart-rate down and Bitter Smile was a fine set-up for the evening's finale.

You have read it from me over and over. Light in Shade is just amazing. Happily, it will be on Toshi's next CD. He has just begun recording it and already I cannot wait. I have never had a piece of music so easily move me. Before now, it was the YES song Awaken that had that claim on me. While both songs are introspective and emotional, Light in Shade is purely instumental without the interpretation of lyrics.

It is like a long gaze into a clear pool of water. On the surface is one's own reflection, but looking past that, one can see straight to the bottom with all the wonders so clear for observation. That is the light in the shade--to see what is usually obscure, especially to ourselves.

Toshi, Reinhardt and Jon create just such an environment, that we can see beyond what is on the surface and look to the truth that is so deep within ourselves.

One cannot hear the music of Toshi Onizuka and remain unchanged.

As a teenager, Toshi Onizuka was inspired by western guitarists like Al Dimeola and Paco de Lucia. He began to study on his own and was soon consumed with the music of the guitar. Born in Tokyo, Toshi soon realized that he could not follow the sound in his head without leaving Japan and going to the place where that music was played as part of the culture.

 In 1993, Toshi left Japan for Seville, Spain where he would learn and practice and develop his own style and sound. He remained in Seville for over five years and absorbed the music of Spain, travelling to distant parts of Spain and even to Morocco. For two years, he performed and toured with Pata Negra, an internationally renowned Flamenco-fusion group. The captivating rhythms of his playing can be traced to these roots.

 His fisrt CD, entitled Toshi, was released in 1997. Toshi himself composed and produced the songs on the CD, while being joined by musicians from Spain and Brazil. In Toshi's later CDs, the sound of Brazilian samba and bossa nova are clearly heard. He has truly become a "fusion" artist.

Toshi now makes his home in Portland, Oregon. His association with Portland's great musicians has expanded his play and his opportunity to further pursue the sound in his head. He has recorded with singer Gino Vanelli and with fusion pianist Mike Prigodich. He has been featured in many Oregon Music and Arts festivals and has appeared on numerous television and radio specials.

 Toshi's second solo CD, Voy Con Fusión, was released in September 2008. This was a superb example of his fusion of flamenco, jazz, rock, and even hip hop. His third solo CD was entitled When You Passed By and was released in March of 2012. Both of these magnificent recordings featured contributions from Portland's bullpen of great musicians including drummer Reinhardt Melz, bassist Damian Erskine, percussionist Israel Annoh, vocalist Tracey Harris, bassist Jon Hughes and so many others.

 Toshi currently performs at various venues across Portland with the artists mentioned above. One of Portland's hardest-working musicians, he plays almost every evening of the week.

 Toshi defies categories. "Fusion" remains the best, most accurate, description of his play but even this is found lacking when he breaks into a traditional piece such as Besame Mucho. Fusion, traditional Spanish, jazz, bossa nova or rock, Toshi plays them all with sublime musicianship and heart. 

This is the main character of Toshi Onizuka's musicianship; it is his warm heart that provides the rhythm to his supreme performances.

Sunday afternoon was the hottest day of the year, so far. As warm as it was outside, the stage where Toshi Onizuka's Trio were performing was a few degrees hotter that the rest of the place. And the music, of course, was scorching...

Never, ever predictable, Toshi, Reinhardt and Jon carved out new footholds on many of jazz and bossa nova's standards and gave fresh insight and inspiration into some of Toshi's original compositions.  Some pieces received the energy and emotions from the trio while others were simply turned upside down.

The afternoon opened with Go With the Flow which is a Toshi Onizuka original and not to be confused with the Queens of the Stone Age song of the same name.

It was an inspiring and cheerful opening; perfect for a warm late-spring day. There was a touch of melancholy throughout the number but the liveliness of Toshi's Spanish guitar and the bounce of Jon Hughes' bass were accentuated by Reinhardt's abandonment of the sticks in favor of the finger-tapping on the drums. There was already a feeling expressed that this was not going to be just another Sunday afternoon at the Paragon.

Moliendo Cafe followed soon after with another summery feeling to it. This was composed in 1958 by Hugo Blanco. Blanco was 18 years old at the time of the writing. In 1961, the song went to Number One in Argentina and Japan. Blanco's uncle later claimed that he had written the song and sued his nephew. But the song continued to enjoy success in Peru and Spain and was even made into a massive hit in 1990 by Indonesian artist Kopi Dangut.

The song's hot, quick guitar was contrasted by the slow, cool bass from Jon. Toshi's guiro imitation accompanied Reinhardt's drum solo which was a low-end solo with little or no cymbals. It was an impressive display of almost tribal motifs. Oh, so today was going to be a study in opposites...

From the rumble and dash of Moliendo Cafe, Toshi led the trio into Una Carta De Amor. This is an orginal piece by Toshi and plays like a song of remembrance. There are charming chord changes and a captivating melody that switches to a samba near the end. At the song's conclusion, Jon asked what the title meant. Toshi answered that it is translated as "A Love Letter" while Reinhardt replied that it meant "I Hate You." The opposites continue.

Follow the link below to Toshi's performance of Una Carta de Amor.

Black Orpheus is a film score from the 1959 film of the same name. It is the retelling of the Greek myth of Orpheus and Eurydice but is set in modern day Rio de Janeiro during Carnival. It is a strange but fascinating story and the music is enthralling.

As the trio plays it, the song takes on a nobility rarely seen. Jon's bass jumps alongside Reinhardt's steady rhythm. Toshi adds palmas to Reinhardt's percussion and Jon goes from bounce to glide and back to bounce. Toshi creates a feeling of attraction and affection that draws the listener in closer and closer.

In the film, two children follow Orpheus (Orfeo) throughout the movie believing that his guitar playing causes the sun to rise. The way Toshi plays, he could be Orpheus.

After the first break, the trio returned with Hypocrisy, another Toshi original. Despite the title, or maybe in fulfillment of the title, Hypocrisy is a sweet melody and is contrasted with a running bass line. Jon's short solo was engaging but opposite the melodic line. His solo was very appreciated by the audience and received heart-felt applause. The loveliness of the theme almost created a sense of something a little too smooth, almost slick. The title works. Opposites, again.

Another sweet but melancholy theme was to be found in Difficult Flower. The use of minors created a mood of weariness as Jon's thumbing on the bass had a nice effect. Reinhardt's drumming was pronounced and accentuated the mood. As Reinhardt manipulated the rhythm, Toshi's adventurous guitar coupled with him to create an almost Steppenwolf effect before sweeping back to the sweet melody.

Toshi's ripping arpeggios highlighted Blue Eyes, while Reinhardt kept up a bossa beat alongside Jon's sprinting bass. This interplay continued throughout When You Passed By. This is the title track of Toshi's latest CD whose cover art leaves men asking who is the woman on the front cover.

The answer is: no one seems to know. Although Toshi once said it was his mother.

The art work was provided by Toshi's graphic artist who has access to a library of stock photos and this was the perfect one for the CD cover. Tempted to provide a much better cover story, Toshi insists on telling the truth in the matter.

That is Toshi.

Wave is also from the same CD.  In this piece, Reinhardt switched up the rhythms against some cool off-melody play by Toshi and Jon. The song was inspired by one of Hawaii's beaches and that imagery is easily pinpointed in the movement of this one.

In between the songs, I asked for Light in Shade and Toshi smiled and I said "Oh, I won't forget." Reinhardt simply said, "Light in Shade" and Jon repeated after him "Light in Shade."

The song is precise, almost mathematical. Victor Little has said of it that it is a demanding piece to play but it is also incredibly warm and emotional.

Light in Shade was played so emotionally that it is impossible to describe. Even at the beginning, Toshi's intro was moving and graceful and one could see Jon with eyes closed listening, while Reinhardt had his head bowed as they let the melody and the movement flow over them.

It was the best version of the song to date.

But the most intriguing moment of the day came with the bossa nova standard Agua de Beber. When Toshi called the tune, Reinhardt opened with a totally unexpected beat and Toshi excitedly said, "Yeah! Let's go wtih that!" Reinhardt cocked his head and said , "Really?" Toshi was convinced that Reinhardt was on to something. And he was right.

This groove was the rhythm to top all rhythms. This funky-meter pattern was intoxicating. You wanted more and you didn't care what the results were. Toshi and Jon were onboard all the way. Composer Tom Jobim could never have envisioned this! Jobim's bossa nova had run headlong into a Robert Glasper groove and Agua de Beber will never sound the same.

This is what happens when musicians make room for the opinions of other musicians. This is what trust can create. This is the beauty of selfless cooperation. Something wonderful happens.

Without Reinhardt being given room for contribution and expression, Agua de Beber would remain simply a bossa basic. With Toshi following Reinhardt, the song is propelled into another sphere and becomes something greater than even its composer could realize. The song became the love child of Jobim and Glasper without the knowledge of either of them. It happened because of trust. 

Some of my finest lessons on being a human have come from watching the musicians of Portland. The rewards of trust and respect, affection and integrity come at the very low cost of being open to others. Musicians of honesty and compassion like Toshi, Reinhardt and Jon teach me this every time I hear them.

Saturday night's Super Moon was said to have brought larger tides than is normal. The water was still high on Sunday afternoon at the Paragon. It must have been as the first songs were about water.

Andaluz Aguas and Agua de Beber led things off. The music was tight but without being crowded. The first piece featured Toshi Onizuka's beautifully phrased Spanish guitar work while the second highlighted a bass solo with faster fingerwork than has been witnessed of Jon Hughes thus far. The syncopated guitar licks gave more of a jazz feel than the normal bossa nova sound of the original.

The super moon may have brought out the lunatics on Saturday but, on Sunday, only the fun remained. It was a summery day and the sunshine was reflected in the music. And the fun was just beginning. We had brought a good friend along with us who had heard us telling great tales of Toshi and Jon and Reinhardt and she wanted to see for herself.

A great deal of the fun for us was watching her enjoy the music as much as we did. We know that we enjoy it and we think that, of course, everyone must enjoy it the same but, to see it in the face of someone else is a great treat. None of us were disappointed. She enjoyed them and we enjoyed her enjoyment.

Reinhardt's brushes were most noticable in Girl from Ipanema while Jon modified his bass away from such heavy bottom. The result was higher pitches which Toshi countered with a growling guitar.  The chord changes were intriguing and moving. This is yet another characteristic of Toshi's ever-evolving arrangements. Just when you think you can predict the next measure, everything is modulated or time-shifted or whatever and you are listening to a new song.

Wes Montgomery's Road Song was the next piece and the link to the Montgomery original is found below.

This was the first Wes Montgomery composition that I have heard from Toshi and he rendered it splendidly. The difference between Wes' thumb picking and Toshi's plectrum work made for a uniquely innovative departure from the original. I am a big Wes Montgomery fan--and who isn't--but Toshi's fresh instincts bring new meaningfulness to the composition.

A Flamenco improvisation in 6/8 time followed immediately after with Jon begging for relief from the merciless time. And yet, Jon turns in spotless solo after solo. Harmonic and compelling, Jon's bass work is never a disappointment. Not once.

When the first set ended, our friend said, astonished, "That's it? It's already the end of the set?" We always feel that way, too. We always check the time to see if an hour truly has passed and it always has. The time always flashes by when such fun and musicianship are in play. Plus, summer-style food arrived at the break and the experience heightens.

The second set opened with When You Passed By, a Toshi original. It is the title track of Toshi's new CD which features trio-mates Reinhardt Melz and Jon Hughes. On the CD, the song opens with a slide guitar but Toshi plays the Spanish guitar at Paragon for the entire number. I like it that way, too.

The song Difficult Flower is also from that CD and is a sweet melody. But as said before, Toshi will switch things up by inserting a hard grind in the middle before switching back to delicacy for the outro. Beautifully performed and beautifully appreciated by us and our friend. I think she just might be hooked.

Many things had been switched up at the Paragon on Sunday. The weather was indeed sunny and the tables were set out on the sidewalk. A new menu was also offered. From spicy black beans and tortilla chips to chicken pot pie to the ever-delicious tiramisu, some things remain familar while other things are introduced alongside the standards. The Paragon and the Toshi Onizuka Trio, the perfect fit.

Jon was given a break during the 4/4 timed Wave, also from the latest Toshi CD. With effects, Toshi's acoustic guitar coolly imitates a Hawaiian steel guitar to nice results.

The third set began with my favorite, Light in Shade. Even my favorites are never allowed to remain untouched. Always different, like the meditation it represents. The drums were different, the bass solo different. I cherish this Toshi original. There is always a bit of agony when Toshi plays those chords that assuredly mark the approach of the ending. I love the chord changes but they signal the end and I dread hearing them. But this time, Reinhardt has established a groove that hangs on and he doesn't let go. I find myself thinking, "Hang onto it, Reinhardt! Don't give it up!"  Sure enough, a reprieve and they go for another pass. The end is put off for just another moment and it is appreciated!

Blue Eyes was pronounced offensive by blue-eyed Reinhardt. "I want you to know this song offends me," announced Reinhardt. Toshi offered to change the title to "Turquoise Shirt." The fun continued.

And continued at the opening of Black Orpheus when Toshi said "We'll do this one slow," to which Reinhardt responded, "Like this???" and ripped into some warp factor-10 time signature that left the Trio and the listeners laughing.

Again experiencing the music anew through our friend's experience was special fun as she spoke of the things she enjoyed. The chatter between the musicians, the high standards of performance, the beauty of the compositions and the graciousness of all three of them toward our friend, left us with smiles and the reminder of why we so much look forward to our Sundays at the Paragon.

Great food, Brent and Kate representing a charming restaurant, a warm summery day following a Super Moon, and delightful music from amazingly gifted musicians who are also the nicest of people. A happy convergence on a good day.

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.

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.

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.

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.

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.