By Andrew Poretz***Entertainer Martin Bonventre celebrated his debut EP, Swingin’ in a New Dimension, with a sold-out show at The Laurie Beechman Theatre, with a huge crowd of rather enthusiastic patrons and a few notables, including Jackie Presti, who arranged the songs, and Tony-nominated performer Penny Fuller. 
Bonventre is a youngish fellow who has an old-school Borscht Belt flavor, adding some acting, dancing and comedic patter to his act (he could probably do standup). It did not hurt to have a killer band with pianist Jason Yeager at the keys, with bassist Boots Maleson and drummer Tony Tedesco, plus trumpeter Greg Ruvolo and Matt Hong playing sax and flute.
Bonventre sang his way to the stage with a cold open, a capella start to “The Song Is You” (Jerome Kern, Oscar Hammerstein II) before swinging it. In a dozen songs, including a dance number, he was quite charming and entertaining. His acting skills were present for “She L
oves Me” (Jerry Bock, Sheldon Harnick), from the Broadway show of the same name), and with dramatic flair, he included the show’s verse that set up the song’s story. Maleson’s bass drove the song before the rest of the band entered.
A highlight had guest artist, Vanessa Mitchell, join Bonventre with a take on Fred Astaire and Ginger Rodgers in a charming dance-song duet on two Irving Berlin songs from Astaire films: “Change Partners (Irving Berlin) and “Let’s Face the Music and Dance.” With an excellent Ruvolo, he conjured up the ghost of famed swing-era trumpeter-guitaris Bobby Hackett with a terrific arrangement of “Oh! Look at Me Now” (Joey Bushkin, John DeVries).
In another show highlight, seated at the piano, Bonventre performed a duet with Yeager: the pianist’s solo work on “You Must Believe in Spring” (Michelle Legrand, Alan and Marilyn Bergman), with his gorgeous, sensitive voicings, preceded Bonventre’s vocal entrance, singing the lyric to Yeager’s accompaniment. “Something’s Gotta Give” (Johnny Mercer) started with Yeager’s technically excellent piano intro but within a problematic, uneven arrangement by Presti; when Bonventre came in on vocals, the tune was reclaimed when he began to play off Tedesco’s drumming, a la Sammy Davis, Jr.
Bonventre has a strong baritone, yet his intonation was often challenging, with some nasality to the tone, but his timing was on point in the swing arrangements—and his fans appreciated him with vigor. With Presti’s excellent arrangements, and a top-shelf band, overall, the show offered excellent material and was indeed charming.
Photos by Andrew Levine
