by Ken Hoyt
The word legend is tossed about with some regular-
ity and applied, without irony, to things that can
scarcely bear the weight of such an accolade. Leg-
ends may well be born, but they generally require
seasoning, and it is essential that they stand the test
of time. Only then can the title be awarded without
reservation.
for six years. “I would help out around her house,” Mathis remembers,
“in exchange for lessons.”
Johnny Mathis is, in fact, a legend. His cherubic face, velvety voice, and
long sustained notes have launched many top selling songs. It helps to
start early if you want a long career (although that’s not exactly insur-
ance — see one-hit-wonders).
On a sweet separate note Mathis mused, after hearing a recent recording
of himself, “Now, I sound just like my father.”
Mathis began in his career in 1956 and he’s been on the charts every de-
cade since, with over 73 albums that have hit the Billboard Charts and a
tidy 350 million records sold. At seventy-seven years old, Mathis and his
voice are in fine shape as he continues to travel extensively for concerts.
It seems that where Mathis is concerned the world is blissfully color-
blind. Even so, he began his career prior to the Civil Rights struggles of
the 60’s, and yet he doesn’t recall much strife. “So many times,” he says, “I
wondered when it would come up. I was a little naive, and very fortunate.
When I came along Nat (King Cole), Ella (Fitzgerald) and Sammy (Davis
Jr.) had blazed the trail and had taken the brunt. I didn’t have to deal with
it. I’ve been very lucky.”
Mathis began his career at Columbia records, a giant in the industry,
but not known as a “race” label. The world was different too. Recording
artists were heard long before they were seen. “Columbia,” says Mathis,
“had mainstream Caucasian performers. I sounded like them.” His wavy
hair and boy-next-door looks made his race more difficult to determine.
Mathis credits a lot of his early success with Percy Faith, a bandleader,
composer and arranger known for his use of string instruments in his
lush orchestrations. The romantic sounds that Faith produced were a
perfect match for Mathis’s rich vocal quality.
Mathis recounts following the legendary Mahalia Jackson into the stu-
dio to record all afternoon. “Then, I was off to the Copacabana,” Mathis
recalls, “to do five shows a night.” There was a dark side too. “Amphet-
amines,” he remembers, “were prescribed to keep performers going. No
one knew they were harmful, but I was under the influence for three
years. I went through hell and fire like everyone else.”
Photo by Jeff Dunas
Culture Club |A&E
Unlike many of today’s crop of teen idols, Mathis was better equipped to
enjoy a lengthy career. That longevity may well have to do with a voice
that he had help crafting and developing. His father, Clem, bought a
piano when he thought his five-year-old son was showing interest and
promise. Johnny sang everywhere, church, school and local festivals.
When he turned thirteen his father decided it was time for him to get
professional training. He studied with local voice teacher Connie Cox
December 2012
The wisdom of that vocal training is evident today. His sound is un-
changed to most ears. Mathis insists, “I’ve let go of certain songs that
I don’t have the chops for anymore.” The tunes that he’s quietly retired
do not include the songs he calls “the holy trinity:” “Chances Are,” “The
Twelfth of Never,” and “Misty.” “Those,” he notes, “are the songs the au-
dience is waiting for at every concert.”
To have a long career is a blessing, but one that may have built-in difficul-
ties. For instance, how does one keep a song sounding fresh, meaningful
and heartfelt when one has been singing it for over fifty years? “The whole
process of performing,” says Mathis, “is so visceral. No way I can go on
and not sing from the heart. I can’t lie to people. I have so much respect
for an audience — I love what I do.”
Mr. Mathis is open and warm in conversation, but there are things he
prefers not to discuss. Like many gentlemen of his era he prefers not to
discuss the intimate matters of his life. Early in the 80’s he came out in
an interview. He hasn’t talked about it much since. There is also a strong
suggestion that the death threats that followed his openness in that origi-
nal interview have made him very wary.
He has been entertaining thoughts of a new album, but nothing has so-
lidified. He hasn’t ruled out the idea of an autobiography, although he’s
in no hurry to tackle the project. In fact, outside of regular touring dates
he’s content to work on his golf game, which he does most days.
To some readers, Mathis will be most recognizable as a frequently played
Christmas artist. To date, Mathis has recorded five Christmas albums
with lots of songs that have become holiday standards including, “The
Sounds of Christmas,” “A Marshmallow World” and “Christmas Is a
Feeling In Your Heart.”
“When I was growing up we didn’t have a lot of extra money for gifts,”
Mathis remembers, “but there was always the smell of holiday foods
cooking and music all around the house. It’s always been my favorite
time of year.”
To some he has become the “King of Christmas,” a title he enjoys almost
as much as he does the season itself. When asked if he would ever have
dreamed he’d get that moniker he replied, “I was so unsure as a child
of what the future would hold. If I’d known that I would be the King of
Christmas … well, that would have been the star on the top of the tree.” §
IN CONCERT Johnny Mathis, the King of Christmas, will be appearing
with the Oregon Symphony on December 22nd at 7:30 p.m. Tickets and
additional information are available at orsymphony.org.
JustOut.com
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