For a lot of folks, Christmas is synonymous with Johnny Mathis.
“I couldn’t be happier that people listen to my music at Christmas,” says the legendary balladeer. “I’m thrilled when I hear people say, ‘It’s not really Christmas until we hear one of your recordings.'”
With his vulnerable vibrato and youthful good looks, Mathis, at 79, defies time. The iconic vocalist, celebrating nearly six decades in the music business, comes to the Rosemont Theatre on Saturday.
His hefty catalog contains many memorable pop performances, including the lush romantic hits “Chances Are,” “It’s Not for Me to Say” and “Wonderful! Wonderful!” Mathis has put his singular stamp on many classic seasonal songs, from the sacred (“O Holy Night”) to the secular (“Silver Bells”).
The longtime Columbia Records artist has an impressive recent reissue. “The Complete Global Albums Collection” (Columbia/Legacy) is a deluxe boxed set of his output at Mercury Records from 1963 to 1967 as well as some previously unreleased material. A testament to Mathis’ range, the collection includes torch songs, Broadway show tunes and orchestral pop gems.
Funny, unflaggingly polite, thoughtful and self-deprecating, the pop music icon talked with us by phone recently about his pal Bill Russell, his idol Nat King Cole and how he skipped the Olympic trials for a shot in the music business. An edited transcript of our conversation follows.
Q: You’ve survived and thrived in a tough business. What do you think is the main key to your longevity?
A: Most of the successes I’ve had are due to my early training. My dad said, “Son, if you really want to sing, why don’t you take some lessons?” That was really the catalyst.
I found a wonderful lady who taught me free of charge. Then I got lucky early on and got a recording contract. As far as career longevity, I’ve never lost my enthusiasm about music.
Q: Your father seems to have struck a great balance with you as a child: he wasn’t a pushy stage father, but he also didn’t discourage you from a music career.
A: My dad was my best pal. To this day I cannot think of a better father. He was a good singer who said, “If you want to sing, fine. If you don’t, no problem. Let’s have some fun with it.” That was his whole idea — make it enjoyable.
Q: You were a gifted athlete growing up. You competed in the hurdles and the high jump, played basketball and went to college on an athletic scholarship. It’s fascinating that you excelled at both music and sports, two very demanding disciplines.
A: It’s funny. A little while ago I went back to Boston to sing at a celebration for (retired Boston Celtics basketball player) Bill Russell. Bill and I went to (different colleges but were in) school at the same time.
We went around California entering track meets as high jumpers. We became buddies. We were about equally talented, but of course he was 6 feet 9 inches and I was 5 feet 7 inches.
(Laughs) I looked at a lot of newspaper clippings about our performances when we were in college. They were all from sports sections and mentioned that I was going to take time off to sing. The sportswriters were all doubting my singing ability while touting my athletic career: “We can only wish this wonderful athlete good luck.” (Laughs) It’s so much fun to read those articles now.
Q: In 1956, you had to choose between trying out for the U.S. Olympic team that was going to compete at the Olympics in Melbourne or going to New York and making your first professional recordings. Was that a hard choice?
A: People got invitations to the trials according to past performances. I was just lucky. I was probably 101 out of 102 athletes who got the opportunity.
They sent me a notice that the trials were to be held at the University of California, Berkeley. But as it happened, (jazz producer and Columbia Records executive) George Avakian sent me a telegram saying that if I wanted to continue my singing to come to New York. It all happened in about a week’s time.
It was a little frustrating. But I was desperate to find out how far this singing thing could go. My dad said, “Son, I think this is the chance you’ve been waiting for.”
Q: You started your major label career at a young age. Were there ever times when you were scared?
A: I was always a little bit afraid, because I found out at a very early age that once you make a record, all the mistakes and all the good things are there for eternity.
When you say, “I’m going to sing it once and everyone is going to hear it forever,” that’s kind of frightening.
Personal appearances are different, because you can get away with murder sometimes. But I was always apprehensive about recording, and I still am.
Q: You’ve always said Lena Horne was a huge inspiration. Who else influenced you?
A: The one who really captured me and became my absolute favorite was Nat King Cole. He was a genius at what he did. Most people don’t realize what a great pianist he was. After listening to him for years, I finally met him, and he was the nicest human being. He was the biggest and greatest influence in my life.
Q: I read that you wake up at 4:30 a.m. Is that a routine for you now?
A: Yes! I used to stay up all night, roam around, drink and carry on like everybody else. That all changed when I got older, started to exercise and play golf. I knew by the time the day was over I would not feel like exercising, so I made it a point to exercise early. I’ve been doing that for the last 10 or 12 years.
Q: Do you ever get nervous before a live performance, or does stepping on stage feel like home?
A: The comfort level I’ve reached comes from the fact that I have these wonderful musicians who are also close friends. When I’m around them, they take away the jitters and the nerves.
But I do get nervous when I go onstage to sing, no matter how calm I am during the day. There comes a time — about 12 or 13 minutes before you go on — when it hits you that you’re going to go on in front of all these people and sing your little heart out. All these horrible things come to mind. (Laughs) We are a very superstitious lot, the people who go on the stage.
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When: 8 p.m. Saturday
Where: Rosemont Theatre, 5400 N. River Road, Rosemont
Tickets: $88.70-$109.20; 847-671-5100 or rosemont.com/theatre
