SWINGING SINATRA STYLE: An Interview with Jazz Crooner Jonathan Poretz - by Joanne Olivieri
The first time I saw Jonathan Poretz perform, I was sitting in the dimly-lit lounge at Shanghai 1930, sipping a cocktail and completely dazzled by his stage presence.
He's got the voice, and knows how to take command of the stage. So many vocalists will just stand there and sing; Jonathan entertains and electrifies crowds.
He's a hip crooner with an old soul, and his passion for his craft shines through each and every performance. I left that evening feeling as if I had seen a Vegas show. It doesn't matter where he performs; his presence sets the tone for an unforgettable concert.
As a prelude to his upcoming debut at Yoshi's in San Francisco on August 19, Jonathan was gracious enough to grant me an interview, which I hope will give you some insight into the entertainer and the man.
It's been said that you were born with a microphone in hand. When did you first realize you wanted to be a singer?
I've been singing since I was in the crib; or possibly in the womb. My mom and dad always had music on. My mom, Florrie, was a big time Frank Sinatra fan — a second wave bobbysoxer. My father, Art, liked Frank as well, but probably is more of a Mel Torme kind of guy. Of course my brother and I grew up with The Beatles and had our share of rock bands. But I eventually came back to the music I first heard as a baby.
Who primarily was your biggest musical influence, and why?
I have many influences, from Bobby Darin and Tony Bennett to Ella and Sarah Vaughn. It's hard not to listen to someone you admire and pick up some of their style or approach.
My two greatest influences are probably Frank Sinatra for his approach to a song and his amazing phrasing, and Mel Torme, whose control, rhythm and scatting ability is unparalleled. I was lucky enough to have seen Sinatra perform live on four occasions. And I was in the audience for Torme at least a dozen times. I miss them both terribly.
Tell us a little about the early days growing up in New York and your teenage years performing with some of the best in the business.
Forget Adam Sandler... I was the wedding singer. Actually, I was hired by the Buddy Brooks Orchestra at age 15 to sing the pop songs (and play guitar) at weddings and bar mitzvahs in a place called Ripples in Whitestone, Queens. The band invariably had old time jazz greats who needed gigs — from Charlie Shaver and Snooky Young on trumpet to Chuck Wayne and Joe Puma on guitar. I was surrounded by great music and great artists. It was the best schooling in jazz and the standards anyone could wish for.
You had a brief stint as a "rocker" back in the day. What made you choose jazz over rock n roll?
I loved singing rock and pop songs and in many ways it's helped me become a dynamic performer on stage. But the move to jazz and the standards was really a function of maturing. I truly believe that everyone will eventually find these wonderful songs, whether they hear them sung by jazz or pop artists. The songs, written during an amazing era in our country's musical history, are true reflections of who we are and how we live and feel.
We all go through the trials and tribulations of life (marriage, children, birth, death, breakup). It's nice to find songs that intelligently articulate those feelings for you. At least that's what they do for me. When I perform them, I'm simply sharing how I feel with the audience through the songs.
Touring with the Rat Pack as Frank Sinatra for the past several years must have been an exciting journey for you. I know that you are often compared to Ol' Blue Eyes. Does that help or hurt your stage performances?
I never saw myself as a Sinatra impressionist and in fact, when someone suggested I try out for the show, I laughed and said, "I could never do that." But I did and the experience of playing Frank has definitely made me a better singer. In order to portray him, I read all about what made him tick and studied his every musical nuance through his live and recorded performance. When I perform as myself, I'm sure I'm channeling a little bit of Frank. At least I would hope so, because he was the best there ever was!
Is it a difficult transition after portraying Sinatra to take the stage as Jonathan Poretz?
Guess I answered that one on the last question. I always feel I'm me, whether I'm dressed up as Frank for the "Rat Pack is Back" show, or on stage at one of my own engagements. I love to perform in front of an audience, small or large. It's just who I am.
Your CD "A Lot of Livin' to Do" boasts 11 tunes from the great American songbook. What was your process in choosing these particular songs for your CD?
Picking 11 songs from the Great American Songbook is nearly impossible. For me, it was a combination of songs I'd worked up and had arrangements for that were fresh. But when I think back to the genesis of the recording, I was in a restaurant in Carmel, not far from the Monterey Jazz Festival. I pulled out a napkin and scribbled down songs that when connected told a story of the many facets of love and living. Sinatra used to do something like that. First he wrote down the songs. He then cut them out of paper and painstakingly arranged them in an order that made lyrical and emotional sense to him.
My feeling is if it was good enough for Frank...
The song "I See Your Face Before Me" is very special to you. Can you tell us why?
On the liner notes for my CD, I dedicated this song to my mother, Florrie. She died in 1995, before the birth of her first grandchild and before I returned to music after a long layoff. Although the song is about another type of love, I found it comforting to listen to Frank's version of this song, after my mom passed. Now when I sing it in concert, I'm singing to her and I know she hears it.
The heavy hitters backing you on this CD with Lee Bloom, Noel Jewkes, Harold Jones, Vince Lateano, Jeff Neighbor and Pierre Josephs are a "who's who" of jazz greats in their own right. Can you share with us your reasons for choosing these players?
Quite simply, they’re the best.
A few years ago I heard Lee Bloom backing another singer and knew right away that he had the chops and lyrical sensibility to be my accompanist. We're usually on the same page and I've learned so much from playing with him. Jeff Neighbor has so much joy when he plays it's contagious. He just gets me, and the feelings are mutual.
And how can you go wrong with Noel Jewkes, who plays practically every instrument there is? His lyrical sense as an instrumentalist is unmatched. Working with him is like getting a Masters degree in musicianship.
Vince Lateano is a Bay Area gem. I'll be forever grateful that he, in a sense, mentored me as I worked my way back into vocal and performing shape.
A long story, but suffice it to say, Pierre will always be Uncle Pierre to me. It's an honor to have him on my CD. Plus without Pierre, there wouldn't have been Harold Jones — the icing on the cake. Having Harold (worked with Basie, Ella, Sarah, and now on tour with Tony Bennett) on four cuts of my CD is a dream. He's one of the greatest all-time big band drummers and one of the nicest, most unassuming gentlemen you'll ever meet.
Of course for my live show at Yoshi's I will have Kent Bryson on drums with me. Like Harold, he just lays it down and swings hard. He understands the dynamics of a performance and he quite frankly has what I call "the ears of an elephant" (that's a compliment). The first time I played with him it felt as though we had been on the road for years. When I mention this to other singers who've played with him, they say the same thing.
Your "Swingin Night at the Sands" shows have created a lot of buzz around the Bay Area. Do you prefer these larger venues or more of an intimate setting and why?
I'm so grateful that I get to do both big band and small group shows in all kinds of venues. I have no preference, because for me it’s all about the one-to-one communication I’m having with each musician on stage with me at the time, and the audience members I’m lucky enough to perform for.
Your upcoming debut at Yoshi's is being billed as a swingin' soiree. With "Rat Pack"-inspired cocktails and an open dance floor, it promises to be an unforgettable night out on the town. Tell us more about this event.
I'm so looking forward to this show. The night was inspired by a friend, Jennifer Romo, who attended my "Swingin' Night" show on Pier 39. When I mentioned my upcoming engagement at Yoshi's, her reply was, "Great, a perfect excuse to get dolled up, sip champagne and go dancing." It just seemed like a great theme, so I added the "High Society Nights" title.
My agent, Lisa Bautista and the team at Yoshi's have done a marvelous job of making it a reality. This will be a really special Wednesday night on Fillmore Street!
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Jonathan Poretz performs at 8 and 10 pm on Wednesday, August 19, at Yoshi's, 1330 Fillmore Street, in San Francisco. Visit the Yoshi's website or call 415.655.5600 for tickets or more information.
Joanne Olivieri - Jazzwest.com (Aug 1, 2009)