Front and centered

Sideman Jerry Portnoy masters his own tracks

by Don Fluckinger

Harmonica master Jerry Portnoy has no need to prove he's a pillar of the New England blues scene. Taught by Big Walter Horton, Portnoy lent his smooth-yet-commanding presence on stage to two all-time great ensembles: Muddy Waters' band of the 1970s, and then in Eric Clapton's All-Star Blues Band during the early 1990s. Yet at this point in the perennial-sideman's career, it's time to solidify his legacy.

Portnoy will commence recording a new CD -- only the third of his career, which is moving into its fifth decade -- soon after his performance at Gilrein's on Saturday, when he's joined by Troy Gonyea on guitar. Just as Fabulous Thunderbirds vocalist and blues harmonica monster Kim Wilson did in a recent interview, Portnoy praises Gonyea for his playing.

"He's 23 years old, but he's a world-class talent," Portnoy says. "He's coming up fast; he's got the real goods. And he knows how to work with a harmonica player, which is a special art in itself." Specifically, he explains, that means Gonyea knows his chords, practices subtlety when playing as a sideman, and stays away from the single-string runs and extravagant soloing that are incongruous with the traditional blues-harp repertoire.

Gonyea is one of a group Portnoy has on his "short list" to call when in the area. Like other blues performers who aren't constantly touring, Portnoy keeps a stable of local players "on call" wherever he goes. In the area, the band remain fairly steady, but in the Midwest and in the West, he flies to a gig, and then assembles a band for the night.

Portnoy is moving toward a schedule that has him out on the road during the festival season from late spring to early fall and then back in New England for the winter months. Part of this year's festival season, however, will be spent in the studio working on his new album. The last one was 1995's Home Run Hitter. In 1991, he released Poison Kisses.

Judging from the list of potential song styles he ticks off -- old-style blues, standards, ballads, perhaps several jazz heads, tunes from great R&B sax players, and originals -- Portnoy has a well-formed track list in mind. Then come the jobs of arranging, plugging in his favorite players, and cutting the tracks. Old friend and fellow session journeyman Duke Robillard will also be in the studio. Only after they're finished recording and producing will Portnoy shop for a label.

"I like to keep the label out of it until I get it done to my satisfaction," Portnoy says. "Then I'll shop it; I'm sure I'll have a couple offers," knowing how much appeal a Portnoy-slash-Robillard CD will have among blues fans, at least in these parts.

Session work can be fun, Portnoy says, and sometimes he comes away from a job very satisfied. In the end, though, a sideman must relinquish control of a recording once he leaves the studio. Many times, it turns out great -- but other times it doesn't. Portnoy remembers one session where he felt good playing, and when he heard a rough mix things sounded great. But when the final, commercially released CD came in the mail, and he played it on his home system, something was very wrong.

"As soon as I heard it, I said, `What the hell did they do to that?' " he says. "I took it out, went to my back porch, and sailed it off like a Frisbee -- it made me so mad. Because [to think of] somebody listening to that trying to get an impression of my playing would be embarrassing. And yet the actual track I cut was all right. But by the time they compressed it, mixed it, and EQ'ed it, they took the juice out of it."

That won't happen to the harp master when he hears his own CD. "I can't wait to hear how some of this stuff is going to come out," he says. "I have an idea in my head of what I'm looking for. And if reality can match the conception, it's going to be pretty cool."

Jerry Portnoy plays at 10 p.m. on May 20 at Gilrein's with Troy Gonyea. Tickets are $10 in advance, $12 day of show. Call (508) 791-2583.