Burt Bacharach Always Gave Us His Best

If I asked you to “Name a Burt Bacharach Song,” there’s no doubt in my mind that you could come up with one immediately, whether you first learned of his work in the 1950s or three more decades beyond. News of his passing at the age of 94 just broke hours ago on the American Songwriter blog.

There’s no question that a Bacharach composition is going to be a theme of love—whether love won, love lost, searching for love, or giving up on love…Burt WAS love, or at least one of its best emissaries. What do you do when you can’t find the right words to put in a heartfelt wish on a blank card, or how do you tell someone that you’re going to recover from the hole in your heart that you’re feeling now? A Bacharach song is always a good idea. He had one for everyone.

[Photo: Milan Italy 26/10/2008, live concert of Burt Bacharach at the Arcimboldi Theater. Used with permission]

As he is best remembered, a YouTube creator was kind enough to compile a “Barbra Sings Burt Bacharach-Hal David Songbook,” so click and let it play and walk back in time to your childhood, all you Baby Boomers, and some of his best work is there.

On this next YouTube, “What’s New Pussycat?” (Tom Jones) and Alfie (Cilla Black and Dionne Warwick),” as only Barbra Streisand can deliver them reminds you immediately of who they were the big hits for: “Close to You” (The Carpenters), “One Less Bell To Answer” (Fifth Dimension) and more.

Think of singer Dionne Warwick and you can immediately call to mind, “Walk on By,” “I Say a Little Prayer (for you),” “I’ll Never Fall in Love Again,” and “What Do You Get When You Fall in Love?” Then you’d also call to mind the name Hal David, Burt’s most prolific co-writer over the years. Together they were the dynamic duo.

Beyond writing, though, you could always find that Burt could sing his own songs and compel your heart to heal as anyone who might have shared his work on their own record labels. But when others brought them to life, there’s no denying what the difference is between catchy tune and solid gold. Take for example, “Arthur’s Theme,” the theme song for the Dudley Moore movie, “Arthur.” Four writers are credited: Burt Bacharach, Carole Bayer Sager, Christopher Cross, and Peter Allen (not necessarily in that order).

Yet, how do you share credit? Who writes what in that situation? As the story goes, it was Peter Allen who came up with “When you get caught between the moon and New York City” (he was on a plane "stuck in a holding pattern" at New York's JFK Airport). That phrase was the hitmaker because simply “made the song.” However the collaboration, it’s Christopher Cross’ voice and all the lyrics and the complete melody and arrangement that had people all singing about the moon, New York City, and “the best that you can do is fall in love.” And it certainly helped box office ticket sales to be sure.

“On My Own” sounded “sweet” when Carole Bayer Sager and Burt Bacharach were sharing it, here, but according to Songfacts, they’d promised it to Patti LaBelle, who loved the song. but when the rich sound of Michael McDonald came shining through, together with Dionne Warwick, it simply MADE the song. That’s what incredible songwriters can do…they are the “assist” to the slam dunk of a golden hit that the song stylist can take from memorable to unforgettable.

While Burt was married to Carole Bayer Sager for nine years, their compositions together were heartfelt gold. From that pairing one special gem was, “That’s What Friends Are For,” which brought the collaboration of Dionne Warwick, Gladys Knight, Stevie Wonder, and Sir Elton John.

Burt said it all for so many when nothing less would do. His memory, and his music, live on forever, thank goodness, and thank you God, for Burt Bacharach.

Joni Mitchell Surprises Newport Jazz Festival Audience and Everyone Else Who Loves Her Music

Welcome news appeared in Rolling Stone yesterday as Johnathan Bernstein's story that Joni Mitchell had returned to the stage just seven short years after experiencing an aneurysm that left her unable to speak or walk. On July 24, while most everyone was enjoying a lazy Sunday afternoon somewhere, history was made at the 2022 Newport Jazz Festival. Billed only as the Coyote Jam with Brandi Carlisle as lead, the surprise of the day eclipsed the preceding day's appearance by Paul Simon.

Rick Farrell's photo in What's Up Newport captured Mitchell looking as comfortable there as she has been in her own home in recent years, as guests have dropped by for informal Joni Jams.

For the first time in 20 years, since her self-imposed retirement from live performance, she held court atop a makeshift throne as those around joined her in tribute to her genius. In fact, her own website site noted: "The last time Joni performed with guitar in hand in front of a paying audience was 8,660 days ago, on her 55th birthday."

Onstage with Mitchell, sitting in an exquisite chair, sat numerous well-known musicians from Brandi Carlisle to Wynona, some of whom consider themselves Joni's Number 1 Fan. Yet, that position is held by no one person. It is not possible, because music lovers from the late 1960s forward have embraced the willowy, fierce singer-songwriter as "theirs" for likely that title belongs only to one person, David Crosby, who really is primarily responsible for making sure the rest of us knew of her gifts and helped her career ascend into the stratosphere from a nice start (and life with Graham Nash as well).

Yet, did you ever think that 20 years later, she'd be standing in front of a live audience performing a jaw-dropping instrumental on "Just Like This Train"? Check out the YouTube posted by Dale Martin:

The audience sat spellbound as they watched Joni rise from the comfortable chair on a stage that recreated the home setting where Mitchell has been hosting gatherings of LA area faithful for a long while. These informal yet limited audience gatherings have included select friends, old and new, who'd come by to sing her songs back to her. Clearly, Joni has made phenomenal progress since suffering a brain aneurysm in March 2015. The event left her unable to speak or walk Yet, having recovered her speech, at age 76, she told a reporter for The Guardian her intentions, after she'd beaten childhood polio (as noted from in the BBC story):

"And, you know, I got my speech back quickly, but the walking I'm still struggling with. But I mean, I'm a fighter. I've got Irish blood! So you know, I knew, 'Here I go again, another battle.'" Two years later, Joni brought singer Wynonna Judd to the point of "no words" as she asked Brandi Carlisle, "When we are 78..." as if can we still be like she is? Granted, many of the performers there were starstruck as much as moved by the quiet confidence of Joni's humor that filled some of the stories she told, one of which was how she came to love "Why Do Fools Fall in Love" as a teenager. Yet, few teenagers get to take their favorite artists with them on the road, but then again there's only one Joni.

Quite possibly, Joni Mitchell means more, perhaps, to singer-songwriters themselves than to any other group of individuals who can rightfully claim one musician as "theirs." Joni's willingness to break rules, barriers, cadence, and logic with each album that she released represented "This is How It's Done When You're Not Afraid to Do It" as opposed to "This is the Way We've Always Done It" in song styling.

Thanks to JoniMitchell.com we have the set list from the concert, and videos courtesy of YouTubers Amy Karibian and Dale Martin. Brandi Carlisle is the musical director, vocal coordinator, conductor, and The Guardian's Laura Snapes had the band lineup for us: Marcus Mumford, Wynonna Judd, Blake Mills, Jess Wolfe and Holly Laessig of the band Lucius, and Mitchell’s bandmates Phil and Tim Hanseroth and Celisse Henderson. Carey [2]

Come in From The Cold (Dale Martin video) features Taylor Goldsmith (of Dawes) said lead and Joni sang harmony

Taylor's dad, Lenny, was an original member of 60s band the Five Americans and eventual lead singer for the Tower of Power.

Help Me (Dale Martin video)

A Case of You

Big Yellow Taxi

Just Like This Train (Joni on Parker Fly!)

Why Do Fools Fall in Love

Amelia

Love Potion #9

Shine

Summertime

Both Sides Now

and The Circle Game

In the years since her aneurysm, musicians have shared their regard and devotion for Joni and her music in performance, stories, and composition. Some are in her living room; others express it on their own stages. The impact of Mitchell's music is found in individual singers' tributes to her work around the world, from Australia to the UK to New England and Los Angeles.

As just a few examples, for the past seven years, singer-songwriter Kiki Ebsen's group, the Joni Mitchell Project, has performed a decade's worth of Mitchell's work that spans nine albums after noting that Joni's absence from performing had left a substantial musical void for two decades. Together with guitarists Grant Geissman, Terry Wollman, drummer Bernie Dresel, and Steve Lawrence on bass, and occasional guest artists, they interpret Mitchell's work with flair and authenticity by crowds who continue to appreciate annual appearances at the Laguna Festival of the Arts and upcoming Muckenthaler Cultural Arts Center date.

Multiple Grammy winner Christopher Cross could not sit quietly by as one of his heroes had suffered her aneurysm. In 2016 he released his tribute to her, "Roberta". He noted: "'Roberta' is the first [song] I have completed [on my new album], which is very much influenced by her later work 'Hejira' and beyond."

It is poignant to think that a commitment made by Joni's then manager David Geffen to appear on the Dick Cavett Show kept her from attending Woodstock, but in 1969 she wrote one of the most iconic songs that has long been considered the identity of the festival. Fitting then, that hours after the night ended and the sun came up, with great thanks to the journalists and videographers who captured time in a bottle for us one more time, we can enjoy the memories of a concert we never attended, but heard about, to perhaps be the impetus that inspired us to go forward and be creative. Thanks, one more time, to Joni for the music. Long may she rock.

Rob Meurer: Overlooked by The Recording Academy but Remembered by Music Lovers

When the 59th Annual GRAMMY Awards broadcast reached their “In Memoriam” part of the show Sunday night, I had hoped to see one name in particular, that of songwriter Rob Meurer, an immensely talented, gifted musician and lyricist from San Antonio, Texas. Sadly, his photo and name were not included on the broadcast. If you know the music of five-time GRAMMY winner Christopher Cross, chances are good that you know the name Rob Meurer. Anyone from “back in the day” in San Antonio and Austin certainly know the talented lyricist and musician.

Rob was the ‘other’ side of the ampersand in the frequent songwriting duo—Christopher Cross & Rob Meurer—on the credits of some of the best songs Cross ever released. On Rob’s official web site, it is noted:

“In terms of pop songwriting, though, my closest and most frequent collaborator by far has been my old friend Christopher Cross, with whom I’ve written nearly 50 songs that are in release throughout the world. When we began writing together I often joined in on the music, but in recent years my concentration with Chris has been as lyricist.”

You likely know “Back Of My Mind,” “Alibi,” “Deputy Dan,” “In The Blink of An Eye,” “Open Up My Window,” “Love is Calling,” “Walking in Avalon,” “Rendezvous”—most of which were early in Cross’ performance years following the multi-Grammy winning album “Sailing” that skyrocketed Cross and his touring career. Although the highly respected GRAMMY winner Michael Omartian played most of the songs he co-arranged and produced, Rob Meurer contributed synthesizer and keyboards to “Sailing,” the album that went 5x Platinum status. Then, too, Rob was Cross’ most prolific coauthor of songs on his subsequent albums.

So, as I watched the 55 photos go by on the late-in-the-show “In Memoriam” segment, seeing Keith Emerson and Greg Lake jammed into one slide for economy’s sake, I kept searching for Rob. Not there. Ones I did see showcased included many I knew had not been part of music careers of over 30 years. In fact, the omission of many far more relevant names patently clear. Those not qualifying for a 3-second TV photo image/name include Gary Loizzo (American Breed founder, and early Styx Producer), Maurice White (Earth Wind & Fire), Jerry Corbetta (Sugarloaf), Tommy Allsup (Buddy Holly & The Crickets), Paul Kantner (Jefferson Airplane), Al Caiola (guitarist on film/TV themes and scores), and Julius La Rosa (singer, mainstay on Arthur Godfrey’s show) just to name a few. Although their names were on the official Grammy list, but they belonged on TV as well, in my opinion.

Not seeing Rob’s name on the “In Memoriam” segment, I quickly abandoned watching the GRAMMY program (a better use of time) and went online to learn how a recording artist, record executive or member of the NARAS foundation gets on the consideration list. Turns out that Laura Bradley of Vanity Fair had asked Ken Ehrlich, the executive producer of The GRAMMYs, that exact question early. Quoting Ehrlich’s response to Bradley’s question in her story:

"…the research stage takes far longer than actually putting together the video itself. Out of the hundreds of artists and industry professionals who may have passed away, only about 50 can make it into the montage itself—and each can only be displayed onscreen for a few seconds. Who makes it in is decided by a committee of about 12 or 13 people from the recording academy, just one more way that the ceremony tries to make the system democratic and objective—and driven primarily by musical influence. “There are people that I would put in there, but it’s not about me,” Ehrlich told the A.P.. “It’s about the music industry as a whole and all of its parts: classical and rock and pop and Latin and jazz. So it’s a difficult process.”

Clearly, it’s a difficult process, and only the top 50 make the slates on the broadcast. I hoped that at least the head office would have Rob’s name listed on the official complete list of the “hundreds of artists and industry professionals” who’d died this past year.

Sadly, Rob Meurer’s name is also currently missing from that official list (click here). Their introductory remarks explain:

“The 59th GRAMMY Awards telecast on CBS will feature an In Memoriam segment highlighting some of these individuals via a video tribute, and all of these individuals who died prior to Jan. 11 are included in the official 59th GRAMMY Awards program book. The Recording Academy salutes each individual for their respective talents and contributions to our culture and community.”

To be fair, given the vast nature of the music industry, and those who pass away during the course of a calendar year, it’s invariable that some names will escape notice. But then, it’s on the shoulders of their friends and colleagues in the music business to submit their names to The Recording Academy just to make certain they’re not omitted, one would think.

Another favorite Cross & Meurer co-write is "Alibi":

Rob had been a vital part of new music for well over 30 years. It’s not like anyone is asking for something undeserved; his work deserved remembrance, if not recognition. After a 12-year hiatus from making a studio album, Cross would return with “Doctor Faith.” As a May, 2011, promotional YouTube video notes Cross reflected:

“This album has 13 new songs that were written by myself and my good friend and collaborator, my long-time collaborator, Rob Meurer. Rob and I met each other when we were about 16 and we were in San Antonio playing in bands and he was the keyboardist in the early band, the early records, and then he and I started collaborating as songwriters first in 1988 with “Back of My Mind.” It’s a relationship and a friendship that I feel very blessed to have and I just look forward to continuing the work that Rob and I do.”

Arguably one of Cross’s most successful tours was for the “Dr. Faith” album, and a DVD/CD recording of “A Night in Paris” was released. Rob remained at home in California, and singer-songwriter Kiki Ebsen handled keyboards and vocals on that Dr. Faith tour, as she’d toured frequently with Cross over the years.

Cross’ stock rose from that tour and it wasn’t long before he was destined for revisiting classic rock favorite-type Yacht Rock tours and enjoys continued popularity on the road today. Good music lives forever and audiences want to hear it.

Although Rob was not on the road for “Doctor Faith,” he was busy with one of his most important passions, writing musical theatre and working with promising young musicians in the Rising Star group that his wife, Beth, founded. Of the Los Angeles-based Rising Star, Rob described on his web site “…kids age 8 to 18 learn the art of Musical Theatre and have a whole lot of fun in the process. I also participate, and have found it to be more rewarding than I ever could have imagined.”

Rob remained steadfastly creative, as he also worked with individual promising young musicians, some the progeny of his former Texas colleagues and friends. For one musical theatre project, Rob was again lyricist on a production called ‘Helldrivers of Daytona,” and it was well received. He was a frequent contributor of time and talents to their church home, and his work Rising Star proved to be among the most fulfilling of all his achievements.

Even though he was living in Studio City, Rob and Christopher continued to work together on Cross’ 12th album, “Secret Ladder.” Yet, this time it was working across the Internet, rather than in person, as the duo would send files back and forth over the Internet as they worked on the songs.

Eleven of the 13 tracks on this album were billed as “Music & Lyrics by Christopher Cross & Rob Meurer.” Cross released this album in September, 2014, on his own label. A modest offering, still it was given a great launch with a national broadcast of the CBS “Sunday Morning” program prior to release.

One or more songs should have naturally found their way to radio play, but the state of terrestrial radio is almost as sad as some of last evening’s GRAMMYs segments. Even if they have a string of GRAMMY awards on their mantle, a solid artist can’t seem to catch a break. It’s up to the artist to tour, play every venue they can book, and provide the PR for their own music, but Cross didn’t tour with “Secret Ladder.”

At Rob’s memorial service in Studio City, Christopher Cross delivered an emotional eulogy that included humor, honesty, and truth:

“Rob was so many things but most of all a devoted friend, he forgave all my trespasses….we were brothers. We were also very dedicated to our work. It’s a rare gift to meet somebody so young in life to be able to sustain that kind of kinship for 40 years. We shared the mystical journey of songwriting. It was like God let us in on a secret no one else knew about. I got a much-needed chuckle out of Beth and Anne the other night at the house when I told her about a conversation I’d had with Rob after our “Secret Ladder” had come out, and had sold 12 copies. I said to Rob, ‘Why do we keep doing this?’ And he answered in a very reverent tone, ‘It’s because it’s what we do.’ And I was humbled to think that he could feel like that. And then he followed that immediately with ‘You didn’t think that we were doing this for the money, did you’?”

Scrolling back on Rob’s Facebook page back last summer and early fall, 2016, whenever visitors would comment, even if not his personal Facebook friends, frequently they’d post a thank-you to Rob for writing lyrics for several of their favorite Christopher Cross songs that they had just heard in concert the night before.

Some even remarked ahead of attending a Cross concert: “Hope they play some of your songs, Rob,” even though that was a likely given. To all posts, though, Rob replied personally, with thanks, and the most humble and gracious remarks you’d ever hope to read. In fact, some of them bordered on slightly self-deprecating as they might include, “Thank you for even remembering these songs!” It was overwhelming to think that the collective genius he possessed was something he was entirely unaware of. He just wrote because “it’s what we do.” They were his songs, too.

At the time of Rob’s passing, Christopher Cross posted this message on his own web site:

“To try and explain how I feel, or to try to imagine how his wife Beth and daughter Anne feel at this moment is impossible, but I felt I wanted to share with you the tremendous love and respect I had for this man,” Cross said. “He was quite simply the smartest guy I ever knew, funny, kind, devoted to his family and friends, and talented beyond measure. Not just with the work he and I did, but his own solo work, and his musical theater projects. His love of the craft was as deep as anyone I’ve ever known.”

One of the best examples of Christopher and Rob in sync is their duet on “Minstrel Gigolo,” on the stage of the Galaxy Theatre. Christopher is playing guitar and Rob is playing dulcimer. Two great friends making beautiful music. That’s the way I want to remember them, like the 66,000 other people who watched this particular video, of hundreds online.

To watch this video (pictured right) click here.

Rob’s time on Earth passed far too quickly. And it would be beyond poignant that, on the other side of the ampersand, the Cross & Meurer compositions would include “Blink of an Eye”:

…'Cause it could be gone in the blink of an eye

It could be dawn in the blink of an eye

Isn't it time that you reached for the sky

And let yourself go

There's a fire deep inside

I said baby baby

Let's steal the moon and let love have its way

Burning like a falling star until we are

A million miles away"

Journal archive Music Dish noted

“Rob Meurer first came to prominence as a keyboardist and arranger on the Grammy-sweeping debut album by Christopher Cross, with whom he has since written and produced several albums. He served as Music Director for Shelley Duvall's Faerie Tale Theatre and Billy Crystal's A Comic's Line and has also worked with Carole King, J.D. Souther, and Van Dyke Parks, and written with Paul Williams & Jennifer Warnes as well as Nashville hitmakers Rory Feek and Sandy Knox…Rob has written books and lyrics for four musicals…and he taught a songwriting course, Lyric Lab for the Music Talks Educational Center.”

“And” Rob Meurer, indeed.

Three separate memorial services were held for Rob: a life celebration service was held in San Antonio, Texas, hosted by Rob’s sister Margaret Ann Hill and her family in October, 2016, for family and longtime friends from the area to remember him.

A private service for family and close friends was held in November in Studio City, California, and the children of the Rising Star Musical Theatre outshined themselves and the other musicians and speakers present with their amazing gifts of music. A video of the service is also posted online.

In December 2016, in Austin, Rob’s wife, Beth, and their daughter, Anne, hosted a celebration of life which allowed so many of their Austin friends to pay their respects.

One exceptional tribute well worth the time to read is by Gregg Barrios (click name to read), a journalist and longtime friend of Rob’s from their high school days in San Antonio (Rob went to Antonian College Preparatory High School and Cross went to Alamo Heights High School as teenagers).

Anyone who wishes can make a tax-deductible contribution to the Rob Meurer Scholarship Fund. His widow, Beth, wrote a beautiful tribute to his work (click here).

Rob may well be “a million miles away” now, and he may not have made it onto the GRAMMY broadcast or even onto the official list of The Recording Academy (yet), but he is forever remembered. It’s not always easy living on “the other side of the ampersand” in any talented duo, but perhaps in the future, lyricists and musicians who are integral to the music we all love and buy will be heralded and championed during their lifetimes more prominently, so we don’t have to worry about them being forgotten upon their passing. Rest in peace, Rob…and…thank you for all the music.

Robert Alvah Meurer

September 28, 1950 - September 24, 2016

Van Wilks Birthday bash 2016 highlights perfect Austin night at Threadgill's

A perfect Blue Moon night in the heart of the Live Music Capitol of the World set the stage for the Van Wilks birthday bash at Threadgill's World Headquarters on May 21. With a clear view of Mars, Van celebrated another trip around the sun, Austin blues style, making it all one grand party night. Taking the stage, Wilks commanded the crowd’s instant attention, doing so with southern charm and major skills.

As the audience stood and swayed, or remained in place and kept time nodding their heads up and down, others held hands with their soulmates and remembered the first times they’d loved live music Austin-style. Still other longtime Van fans danced (and danced) like no one was watching, but it was all good as everyone has their own way of appreciating the live concert experience.

Others just smiled back at those next to them, drinking in every moment of the music, in genteel revelry among friends. The diverse crowd had one thing in common above all else—they acknowledged that “their Van” was as grand as always, perhaps better than ever, not just another of his nights to shine. It was, after all, his birthday and for most, it wasn’t their first Birthday Bash to attend either.

Wilks doesn’t have to be billed as Austin’s Favorite Guitarist, because everyone already knows he is, for both electric and acoustic guitars. Whether his distinction by the Austin Chronicle as a member of their Texas Music Hall of Fame, or being voted for yet another new title, Van Wilks is straightforward all about the music. It’s his job and he sets the world on fire every time he goes to work. He keeps his hat on his head and his mind on the music, another aspect of his demeanor as admirable as his sheer talent.

In the photo above here, see how many of these multitalented musicians, poets, legends and kings of Texas this 'n' that you can name. True Texans can name 'em all. True music lovers can name them all. If you score about 75% of them, then you really love your music. If less than 75%, you really need to get out more and here more live music. Austin is calling you. Can't you just hear the whistle of the train a-blowin'?

What’s especially cool is that live music fans, old and new, find Van’s guitar playing as eloquent as the way he tells stories in his songs, complete with a perfect voice for a storyteller. It didn’t matter last night whether you could name every song from his rich nine-CD catalog (and sing along) or whether it was a first time for some to hear Van playing live, birthday enthusiasts fully appreciated the essence of what it meant to be schooled in the blues.

It’s most fitting that Van was on the cover of April’s “Buddy Magazine”; a few guests found a spare copy or two in Threadgill’s newspaper display for patrons. Legends flow in and among the bands and gigs and players that were (and are) part of Van's rich history to date. Accolades don't overwhelm him as he cares only about the music. Wilks and has held the title of “Best Blues-Rock Band” four consecutive years in Austin, as noted by the Austin Chronicle Music Poll, it’s always about playing with the best musicians who love the genre as much as he does, including Charlie Fountain on drums and Dave Ray on bass. Together they’re just perfect. Pictured below is the lovely Lisa North, music and PR specialist, who keeps folks in the know about many fine Austin-based artists.

Wilks opened with “Strange Girl” from his ninth and best, latest CD, “21st Century Blues,” a must-have album, if you don’t have it already. “Golddigger” was another crowd favorite that kept the fans at total attention. At the end of the song, Van said, “You know it’s my birthday, you don’t have to be quiet here,” and then the crowd let out an appreciative roar into the Austin night.

Phone videos were launched, selfies to prove that people had actually been there were flying, and the crowd flowed gently around between old friends, new friends, and the generously placed bar areas. The perfect Austin evening weather was another present to Van, as earlier in the day, central and east Texas had high winds, hail, and ridiculously wild weather mid-afternoon. But it was clear 21st century skies, full moon, and Travis County’s finest music backyard in time for the party. Standards, originals, covers and more of the best music played on to a crowd that was filled with people who really didn't want it to end.

Speaking of the CD “21st Century Blues,” you can catch San Antonio native and Grammy winner/songwriter Christopher Cross and Austin treasure Malford Milligan as guests on the track, “She Makes Me Crazy,” (written by Cross). Another distinctive track on “21st Century Blues” is “Drive By Lover,” co-written by Van and Billy F. Gibbons, member of a little Texas band called ZZ Top. Yes, it’s the same Mr. Gibbons who so respects Van Wilks that, years ago, he gifted with a custom guitar with Van’s name logo engraved in the guitar neck. Try and follow that gift! You can’t.

Typical of a man who is at the top of his game, Van also generously embraced newer talent to Austin's scene, The Cuckoos, who opened for their good friend's birthday. First listen to the hauntingly good vocalist, true that you could think Jim Morrison was alive and well in Kenneth Frost. The Brothers North excelled also on original music, highlighted by funky bassist Devin North and scary-good guitarist Dave North, and rounded out with a solid Aaron Primeaux on drums.

The Cuckoos are catching fire quickly in Austin’s live music scene and with good reason. Their original music also shows great promise, and their version of “When Doves Cry” did Prince proud last night as well. Frost introduced the song succinctly with, “Y’all get ready for this!” Solid crowd favorites, start paying attention now so you can say later that “you knew them when.” They’re in the recording studio now.

As a special guest, Tommy Shannon came on stage celebrate Van's birthday with bass so smokin' hot that --together with Van's guitar genius made for, well, Double Trouble on “Keep Your Bird In the Cage and Your Monkey on a Chain,” another Wilks’ live favorite. Tommy and Van go way back, to say the least. Last night Van talked of a time that they played together in an early band. Van said, “Tommy and I toured all over the place, even in some silly places like ice skating rinks or hockey arenas, pretty fun days, and then he joined another band….”

Shannon may have played with Johnny Winter, Stevie Ray Vaughn, and Rick Derringer, for example, but when he played last night with Van, you felt like you were back in high school. Their music made you feel young again, possibly like the first time you heard these songs. These days you can catch The Tommy Shannon Blues Band most Wednesdays at Antone’s Night Club.

Van has been playing popular acoustic sets pre-show at Austin’s One World Theatre, so just don’t forget about his skills as an acoustic player, too. In the next month you’ll find him in downtown Houston, downtown Shiner, back in Austin, and on the boardwalk at Kemah. Check his web site for gig info. Treat yourself to a copy of 21st Century Blues and if you order from his web site, he’ll autograph before his team sends them out.

When Van has a birthday, we all get to celebrate. Mark your calendars for next year because if you miss it, you really will get the blues.

Crowds will show up anytime Van is there but the b-day bash was special. Amateur video captured fun of those who danced "like no one was watching" among hundreds just happy to be part of the groove. Happy birthday Van, & thanks for the music.

Rediscovering the Talents and Gifts of Inspirational Musician Gigi Worth

For a long time now, too long in fact, vocalist and musician Gigi Worth has been content to reside on the other side of the spotlight, but no longer. It’s most fitting for her to be seen and known by more than just the vast community of Grammy-winning multiplatinum recording artists and concert headliners who call on her to tour with them or sing on their records.

Now, you already actually know Gigi, at least her voice, very well in fact. Even if you don’t get to many live concerts, you’ll instantly recognize the standout style of the charming brunette, who graces numerous videos on YouTube as a featured backing vocalist, master percussionist or guitarist.

You might have seen her on tour with Michael McDonald, Kenny Loggins, or years ago when she stepped forward on tour to sing a duet with Christopher Cross on “Open Up My Window.” Gigi is also featured singing with him on Cross’ 1995 CD, “Window.”

Or you’ve possibly watched Gigi playing killer percussion while singing. Yes, drummers can sing and drum at the same time, well many of them at least. Or, sometimes Gigi just brings her own (anonymous) guitar brilliance to support Christopher Cross’ angelic “Words of Wisdom” as in this video.

Ever watch Don Johnson in “Nash Bridges”? From 1996–2000, Gigi was the one singing the theme song at the show’s opening. Remember the Val Kilmer movie, “At First Sight”? The exceptional vocal on the movie theme, “Love is Where You Are” is indeed all Gigi. Others have covered the song, but the best version belongs to Gigi, unquestionably.

The soundtrack from “Mr. Holland’s Opus” also belongs to Gigi. She’s a prolific studio singer who’s been requested by so many heralded artists to sing on their records as she makes those vocals “hers.” That’s a producer’s dream to find a talent who can do that.

You know Worth’s voice even if you can’t see her, because it is “her” voice that undergirds many signature premier television and radio commercial jingles for national accounts like Toyota, IBM, and Ford, but it doesn’t even phase her. What’s more you’ll never hear her discuss it. She may speak of “working on a project” but that’s it, according to friends who know her well.

How many singers would just love being “the voice of a brand” and then be so excited to tell everyone they knew? Not Gigi. That’s part of her professionalism, though. As a working professional singer and musician, she’d almost be content to be on the sidelines just doing her job, but she really belongs out front in the spotlight, for a change, and from the looks of things, she’s on her way. Once you meet her and hear her sing, unplugged, she’s absolutely unforgettable—a gentle dichotomy of bold reticence. And just call her Gigi. That’s really all you need to identify her.

One of the most beautiful songs from Gigi Worth's solo CD, "Skylark" is "Embraceable You." Her exquisite vocals lift the song to a new level of beauty.

Gigi’s debut solo CD, “Skylark” is quite the masterpiece and revisits the most beautiful standards ever recorded by the generation that preceded her. Songs like ‘Tenderly,” “Come Rain or Come Shine,” “Almost Like Being in Love,” “Embraceable You,” and “Moonlight in Vermont” belong to the generation of her mother, the exquisite singer and musician Gisele MacKenzie. In fact, Gigi actually recorded the album as a tribute to her mother, who appeared on television, radio, and in commercials for products in Canada and the United States.

A standout, must-hear track of all the beautiful ones, is “Stranger in Paradise,” on which Sony BMG gave their permission to use her mother’s version so that Gigi could add her harmonies on the song. The result is simply phenomenal, almost bringing tears to your eyes except that it’s so uplifting to hear the familial voices resplendent in crossing over time and space.

Gigi’s unique vocal skills remind you that one minute she can be singing “Cry Me a River,” and the next minute she can strum her guitar exactly like Joni does and sing Mitchell’s “Just Like This Train” to perfection. Her go-to bassist Steven Lawrence is on this CD and did the musical arrangement on “Embraceable You” and “Let’s Make a Go of It” (coauthored by Gigi, Catherine Beck and Steven Lawrence).

The CD, “Skylark,” has a special and poignant story behind it, and how it came to be released some ten years ago. There’s a beautiful story from 2011 shared by Susan Frances in “Jazz Review,” wherein Gigi relates how the earliest works in recording the album with her Executive Producer, arranger and keyboardist, Bobby Zee, were literally destroyed in a fire that burned his home and recording studio.

Imagine the feelings of devastation that followed. And yet, both Zee and Gigi agreed they, like the phoenix, would rise from the proverbial ashes and start over. The end result is outstanding and an important must-have for your collection. It’s available from CD Baby, but suggest you get the CD rather than the download as you will want to read the liner notes for the stories behind the songs, plus have the chance to see Gigi’s beloved horse, Miss Easy Street.

The opportunity to meet Gigi Worth came, thanks to her good friend and fellow musician, Kiki Ebsen, who invited this journalist for a behind-the-scenes look at their collaborative band, Trouble Child. Rehearsals were in progress, and the set list was taking shape for the band’s debut at Kiki’s peace.harmony concert at the Healing Equine Ranch earlier this year.

Gigi Worth sings "Free Man in Paris" in debut of Trouble Child, Joni Mitchell tribute concert.

It was a cool but sunny afternoon when the longstanding friends arrived simultaneously at the California home of fellow singer-songwriter and music professional, Guy Thomas. As Gigi unlocked the passenger door, a beautiful whippet named Tippy exited gracefully. “Tippy Whippetsworth” was there as I was, to hear the trio rehearse.

Multitalented musician Gigi Worth and her beloved Tippy Whippetsworth, who has an all-access pass and a great view of the stage.

Worth opened up her case, took out her guitar and then placed her coat inside to line the case. Tippy waited patiently while Mom did that and then curled right up in the case and Gigi covered her up. Rehearsal could begin. Thomas’ dogs Woofie and Sadie (whom Gigi insists on calling ‘Cabbagehead’ for fun) took their places and work began. Guy and Gigi have been playing music as a duo in many venues across Los Angeles recently and they work so well together.

Gigi and Kiki are longtime friends who have also worked together as the beautiful, talented bookends framing the stage with Grammy-winner Christopher Cross for several international tours. Check out some of their tour work as they perform “Alibi.”

Now, in previous rehearsals Kiki and Gigi had already carefully reviewed and considered Joni’s abundant catalog to choose 22 songs from which they would create their musical mosaic. So, this work session would determine which songs to which Guy would be bringing his brilliant guitar solos or adding in a third voice on harmonies. He loves Joni Mitchell’s songs possibly even more than Gigi or Kiki, though that’s a pretty high bar to meet.

Let’s just say that each is equivalently versed in every nuance of Mitchell’s collective body of work. The masters working on the masterworks is basically what was observed by this writer (and Tippy, Sadie, and Woofie). The quality was exceptional and the search for perfection was inspirational that afternoon.

The three-octave range that Joni had as she originally composed so many of these songs was met effortlessly by Worth and Ebsen. Give them a song, any song; they have it down. Gigi can sing brilliantly and richly in the highest parts of Joni’s songs, or she can shift right into alto parts and blend wherever it is called for, and she makes it all look easy. Gigi also has a grand time playing all the songs she knows by virtually any artist.

Yet, despite a disarming, genuine smile, Gigi is one of the most highly demanding artists you’d ever hope to meet. Yet, it’s only of herself that she demands it, that perfection she seeks to deliver, and she’s hard on herself at times because she won’t settle when she’s called upon to sing Joni’s songs. It’s touching to see how one amazing iconic talent, Joni, has inspired such devotion and discipline for these amazing professionals to “bring it” to do her music such justice.

Kiki and Gigi cofounded this band to honor and perform the music of Joni Mitchell, whom they revere and respect as iconic, influential, trendsetting and unique, the exact same properties many agree they each have as individual artists. When you put the two singers together, musical magic and harmonies emerged that even Mitchell herself would undoubtedly approve.

The concert was already sold out, but online viewing was going to be provided courtesy of the exciting new collaborative, Alert the Globe, who was filming the event for later broadcast and for some exciting simulcasting. The actual concert day and events preceding the concert are described in related articles regarding Kiki Ebsen's peace.harmony concert series at The Healing Equine Ranch.

After the gift of being able to watch Gigi Worth rehearse and later perform in concert later in the week it must be said that she still does not see what all the fuss is about. To her, it’s just what she does. And she loves what she does. Yet, when the audiences and her music colleagues shared their praise and regard for her gifts, she seemed not to understand why they were making such a big fuss over her vocal talents.

It’s likely because, and they all had this in common, they view their voices as their gifts and instruments, they take care of them, and when they are called upon to use their talents to entertain, they are entirely focused on the work, the music, the perfection in delivering the right notes, and they forget to take the time to hear the accolades.

Fortunately, the Alert the Globe network was on hand, thanks to Gary Bergeson, Southern California radio personality at KSBR Radio (he is also affiliated with Alert the Globe), the premiere Trouble Child concert was filmed for a future broadcast and some video clips are sure to emerge. It will be then, and only then, when she hears herself sing that Gigi Worth will finally understand what all the fuss is about.

Speaking of making a fuss, it can be a challenge for Gigi, having a famous, superbly talented mother (who was a television star, host of her own shows, plus a gifted violinist and concert-caliber pianist to boot). Just ask her good friend Kiki Ebsen, who also is finally being seen as the individual talent she has long been, separate and apart from her father (who was a television star, motion picture actor, vaudeville dancer, music composer and artist) and mother (who was a gifted theatre producer and exquisite writer).

Bassist Steven Lawrence had that in common also, as his parents were well known California studio and television singers for several television programs in the 1960s. And Gisele used to favor Steve with the praise by introducing him as “the talented one.” Gigi jokes about it all the time as Lawrence is like her second brother and he does look out for his little sister, whom he fondly calls “My Geege.” Steven lost his sister, Jules, whom he called “the joy of my life,” to ovarian cancer far too soon, so it would appear that into that void in his heart, he was gifted with another soul to whom he could be brother (and allowed to pick on her just like any annoying brother is capable of doing). Life is full of grand gifts and surprises in times of the most tragic events. A special spirit is everywhere it is needed, it seems.

It’s not about whose daughter or son you are (anymore) that defines the second-generation progeny first and best. Forget their last names or the body of work of their parents. Instead, focus on the voices and faces in front of you and just know they all had great examples by which to develop a professional work ethic. That’s their big secret advantage: they show up prepared and work.

You can call her Gigi MacKenzie if you want to order the CD, “Skylark” or you can call her Gigi Worth, when she’s touring on stage with the Grammy winners like Michael McDonald or Kenny Loggins most recently. But really, this down-to-earth talent with the ethereal voice and tremendous sense of rhythm is best known by only one name.

She’s the unforgettable artist with a voice that heals by creating harmony in a time and place for audiences in search of reasons to forget their day, their past disappointments or failures, and in search of beautiful music by which their souls can simply be healed.

May her voice be heard, now and always, on records and in concerts, in the front of the stage this time, because she has such tremendous gifts to share, so much to offer music lovers. And, you can just call her Gigi.

Leaving Shadows Behind, Kiki Ebsen Steps into Spotlight on ‘Scarecrow Sessions'

The thing about musicians is that they are never satisfied with status quo. If they're recording, there's always one more take they can try for, another song to write for an album, or they might completely change up an arrangement of a song that has served them well for a long time. Not all musicians are composers, and not all composers are touring musicians. Kiki Ebsen is a singer, and she's also a songwriter, and she's a touring musician--all of those, individually, or together depending on what genre of music is needed.
Photo credit: Donavan Freberg

She's toured with Christopher Cross, Boz Scaggs, and Chicago in the pop rock/classic rock vein, she's been on tour with Wilson Phillips, Tracy Chapman, and Belinda Carlisle, playing keyboards and singing backing vocals. In jazz, she's found a home on stage with Boney James and Al Jarreau. In the music industry, they categorize her as a first-call musician. In 2014 Kiki has given her full attention to her latest love, jazz, and she's just released her CD entitled, "Scarecrow Sessions," a tribute to the favorite music of her dad, Buddy Ebsen, beloved TV character actor ("The Beverly Hillbillies," "Barnaby Jones," and various music specials), as well as motion picture actor and vaudeville performer.

Music flowed through the genes of the family Ebsen and landed squarely on Kiki, whose CD is finding fast acclaim and new recognition for this established artist. "Scarecrow Sessions" is Kiki's 6th individual release. She's also a featured artist on several rock/adult-contemporary/jazz recordings as well.

It was a pleasure to do a feature story on Kiki and hear of how "Scarecrow Sessions" is being embraced by all who are discovering it. Her album is now in consideration for the ongoing Grammy Award process and she's putting together a performing schedule for 2015.

Story (originally published on examiner.com 10.10.2014) follows:

It was never clearer that 2014 has been a whirlwind year for dynamic singer-songwriter Kiki Ebsen than when she posted on her Facebook page, on Oct. 8, 2014, that she had decided that her upcoming show in the listening room of the trendy Los Angeles bistro, Genghis Cohen, would be free. That’s her gift back to friends and fans who have been her enthusiastic supporters this year on the most exciting musical journey she has had thus far in her illustrative career.

Likely you already know Kiki Ebsen, if only for her background vocals and bright keyboards on stages across the country and around the world. Her passport has about as many stamps in it as the U.S. Post office, ever embodying the traveling troubadour label that befits her. You would have seen her on stage just about anywhere, but you might not have known it was Kiki until the headliner artists did their obligatory band intros.

She began her touring career offstage; no seriously, she was off the stage, or more accurately, behind it, out of site. Ebsen accepted a serendipitous invitation to go on the road with classic rock band, Chicago, in one of their tours years ago, as their MIDI technician and playing keyboards, sight unseen. When Robert Lamm or Bill Champlin would step forward on stage to sing, Kiki took up the keyboard slack and no one had a clue she was there. She said, during a conversation last March for examiner.com, that this experience was really incredibly helpful to show her the truest side of a musician's journey.

If you have enjoyed live concerts featuring the jazz sounds of Boney James, the grooves of Tracy Chapman onstage at the Grammy Awards, the harmonies of Wilson Phillips, the searing soul of Boz Scaggs, the driving rhythms of Belinda Carlisle, or the amazing Al Jarreau, you have heard and seen Kiki.

And you would never have suspected her versatility and talent as a solo artist unless you’d heard and seen the legendary Christopher Cross in concert. Cross brought Kiki into a featured role on stage singing together with him on “Open Up My Window,” “Spinning," and "I Know You Well."

In the past 11 years, this creative artist has stayed true to her musical muse, having written hundreds of her own songs, of hope, of looking to the future, and about the joy and the pain of falling in love, falling out of love, and finding the joy in between. Her songs were recorded by other respected musicians, including Boney James, Eric Marienthal, and Jessy J. Once you know her name, you naturally want to know her music. You can find her albums all on her website, but you have to look beyond the discography to discover the journey.

Yes, in 1993 she recorded “Red,” and she created the artwork for the CD, covering music and canvas with color. At a vibrant point in her career, she released “Love Loud” in 2000, anthems to her feelings at the time. It was actually named to Muse’s Top 10 albums not long afterwards. She found time to gather friends including Joy Bonner and Tracey Brown and release “Music Heals, Volume 1,” in 2001.

In 2005, she released the self-titled, “Kiki," There are so many treasures on this CD, but the production is such that you don’t have favorite singles, because you’re playing it from start to finish and they all blend together so well. In 2010, she released "Cool Songs, volume 1,” which was her take on standards that she loved, which she styled in her own, original way.

In 2011 her piece de resistance was released. Titled “The Beauty Inside,” it is arguably her best work until now. Every song had a special meaning to Kiki, as a road map of a path she personally traveled. Song highlights include “Darling,” “Better Friend,” “Weird Fascination,” and more. On the strength of this album, Kiki began constructing her own mini-tours, made up of festivals, house concerts, and venues that were geographically nestled and scheduled on her days off from touring with the headliners. Her own following burgeoned forth, and she was content.

And in the meantime, when she was home in California, she found purpose and inspiration in an entirely separate activity, in a project known as The Healing Equine Ranch. This is a nonprofit educational organization that funds equine growth and brings learning programs to the community. Of special note is that all the horses they use in teaching are rescue horses that have been abandoned or considered not worth saving.

Kiki targeted the unwanted horses to use for teaching, as she believes each of the horses that came to them were worthy of being fought for. Her advocacy, or dream, is realized through programs offered at The Healing Equine Ranch such as “Horse Mornings.” Classes are held for both women and men, and it’s a time of strengthened communications, building trust, and understanding interpersonal skills.

In the training, you unplug your electronic devices and concentrate strictly on communicating with the horse one-on-one. Looking for how the horse responds and communicates in its own way, the "be here now" premise overtakes the participants, and they emerge as exceedingly more insightful. In a workplace setting, imagine the impact The Healing Equine Ranch has, organizationally speaking, on the supervisor who (previously) could not communicate well. Following the various training programs, the participant emerges as both better listener and better communicator. The curriculum is exceptional and is worth reading more on their website. There are also videos well worth review.

Participants come to The Healing Equine Ranch in skill levels ranging from knowing about horses by watching “Mr. Ed,” all the way up to having those who may have ridden when they were younger. Being at T.H.E. Ranch is a way to clear your mind of the tension and trauma of daily executive pressures and to find that peace and quieting of spirit that restores and heals. The programs and activities here are, in part, funded by Kiki’s music, as well as other fundraisers, so each album and CD has made it possible to expand, grow. Makes buying her music an even more exciting option when you know how it makes a true difference, beyond beautiful art for art's sake.

So there you have it, the career of Kiki Ebsen until and through 2013, safely tucked away in the shadows of anonymity and continuous production, high quality output, and journeying through life just merrily enjoying the ride and whatever kismet came her way.

But that all changed earlier this year. The thing about creative people is that they are never satisfied with “status quo.” In fact, that’s quite an ugly phrase to them, implying stagnation or resting on one’s laurels.

Digging through a rediscovered box of forgotten memories and mementos, Kiki found some 1930s era scripts and sheet music compositions of her father’s. Yes, Buddy Ebsen also wrote music, in addition to being a song-and-dance vaudeville entertainer, movie actor and TV star. Kiki’s mother was passionately devoted to community theatre.

Now, picture a talented lady with an inspiration, to create a new gift of music and dedicate it to her father, for Father’s Day. Buddy and Zeke Manners co-wrote a tremendous song, “Missing You,” and that song became a centerpiece around which she gathered other songs that were significant to her dad, or of relevance to his career.

The mosaic of music formed quite a masterpiece. Click on Kiki’s website, and see for yourself the honest feedback from critics and reviewers. You’ll soon see proof that this particular album is the highlight of Kiki’s career, to date. It only surprises people who are hearing her sing for the first time that the acclaim for “Scarecrow Sessions” is flowing in from all over. Her longtime fans simply expected it would be this good.

How the album went from concept to reality is a path of 30 days’ length. A Kickstarter project called “To my dad, Buddy Ebsen, for Father’s Day. Love, Kiki” was launched in March, 2014, and only 30 days was available to complete a project goal of raising $12,000, which she did on Apr. 3. That amount was set but it was only part of the cost to create and produce the CD, which would have to be delivered by June 15, Father’s Day.

You’ll love the story behind how the incredible talent was brought together for the CD. The impetus for the timing was the renowned producer David Mann, a music colleague whom Kiki regards highly. Rather than read more about it, instead, listen to Kiki visiting with Trish Hennessey on her “Hybrid Jazz” radio program. Of additional importance is to hear jazz specialist Hennessey relate how just one time hearing Kiki singing, “If I Only Had a Brain” compelled her to invite Kiki to her program. It’s not surprising that all it has taken, so far, was this first single from the CD to find the all-important radio play that all artists need to be successful.

When you listen to “Scarecrow Sessions,” the CD title that stemmed from Buddy Ebsen’s won (and lost) movie role in “The Wizard of Oz,” you will encounter a musical journey that will invite you to revisit the album again and again. The musicians who make the magic include Chuck Loeb (electric and acoustic guitars), John Patitucci (acoustic and electric bass), Henry Hey (piano and organ), Clint de Ganon (drums), and David Mann (saxophone and flute).

What’s different, special, memorable, and important about “Scarecrow Sessions,” though, is that it is a showcase for the strength, style, and gentle power of Kiki Ebsen as a solo vocalist. You’ve never heard her this way before, no matter where you’ve heard her in concert or on CD. Every song has a more special meaning to her as it fits into the outline of a message of love, daughter for father. Two important backers, of the 180 who joined together to help make her dream come true, are her sister, Bonnie, and her brother, Dustin, who are as excited for her project as she is.

A highlight of the successful Kickstarter program that exceeded its goal was the Father’s Day concert, which was broadcast live and streamed to supporters, on Father’s Day 2014. If you missed it, Kiki's website has selected video clips from that day that you will enjoy.

Since June, a whirlwind of acclamation and support has almost overwhelmed Kiki. And that’s simply what comes with being discovered, being embraced by strangers who have been so touched by her music that they feel like they’ve known her forever, and the music keeps getting added to the radio playlists, from formats of smooth jazz, to easy listening to adult contemporary. All across the radio dial, and up and down the downloads, Kiki Ebsen is becoming more known and beloved than she ever, ever imagined.

She’s close to being caught up in a temporal vortex the way things are moving so quickly. But in the world of entertainment, that’s a good thing, a very good thing. As just one example, “Scarecrow Sessions” is now under voter consideration for Grammy Award nominations in several categories. To those who've listened and excitedly approved her work (see her website), this latest CD seems to fit right in with what is called the Great American Songbook.

During the summer, Ebsen performed in a first wave of concerts in support of the album, including a two-week tour in Scotland, which she found invigorating. She came home to devote some serious time to The Healing Equine Ranch before the road beckoned to her to again venture out.

For her upcoming Oct. 13 show, Kiki wants it to be one more celebration of a dream coming true, which is why she’s made it a free show. The unique bistro, Genghis Cohen, got its name thanks to the iconic Artie Wayne, rock producer and former Warner Brothers executive, whose sense of humor and storytelling are legendary. The restaurant, a New York-style, American-Chinese restaurant and music venue in Fairfax, Los Angeles, was opened by the late Allen Rinde, and many legendary musicians have long held this venue close to their hearts as one of "their own."

It’s also the first public concert where Kiki will actually be able to showcase all the songs from “Scarecrow Sessions.” If you’re anywhere near Los Angeles, be there Monday night at 7:30 p.m. Witness for yourself the transformation of a keyboard player and backing vocalist, who came to the forefront occasionally on national tours with Christopher Cross, Boney James, Belinda Carlisle, Tracy Chapman, Michael McDonald, or Chicago. Today, Ebsen is ready to add a new adventure to her list of "can-do" loves.

She's the complete solo singer, keylight kind of stylist, who's being received and embraced as such. It didn't take long for that to happen, but it's nice that it occurred as a result of her generous gift of time and talents offered out of love. Just seven months after she said, “I’d like to create something for my father,” Kiki Ebsen has an exceptional CD product in “Scarecrow Sessions.”

Further, and most importantly, this CD adds an entirely separate, new dimension for audiences to meet and know her. Even if you knew her as just one kind of singer before, "Scarecrow Sessions" is the breakout vehicle she's needed to reach that next performance level that was waiting for her. Kiki Ebsen's versatility now encompasses the singer-songwriter of original love songs, whom most have come to know, backing artist and musician for household names in rock and pop; a first-call recording artist for supporting work in rock, jazz, blues, and pop; and now, as a solo chanteuse who can deliver the jazz standards beloved by three generations as though they were her first, and only, repertoire. Any father would be proud, especially the one for whom she dedicated 2014 to honoring.

And so it is, where Kiki Ebsen's musical journey is now beginning to enter a new dimension, yet again. She remains the same person, just viewed under different spotlights. It hasn't changed her a bit. Kiki is ever as understatedly modest, generous with praise for her colleagues, and simply excited to be creating something that’s being discovered as “a new treasure.” She’s been there all along, same talent and creative capacity, but you just might have missed her before, because she was so at home behind the scenes. With "Scarecrow Sessions" she has reached new heights, and her future is indeed bright, with more dreams yet to be realized. At last, Kiki Ebsen has moved out of the performing shadows, into the spotlight, where she belongs.

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Music on her own terms: Kiki Ebsen’s Kickstarter and Father’s Day love message

Kiki Ebsen is one of the most accomplished musicians, who's toured with Christopher Cross, Boz Scaggs, Chicago, Bill Champlin, Peter Cetera, Tracy Chapman, Al Jarreau, Michael McDonald, Karla Bonoff, to name just a few, and she writes as beautifully as she sings. Her Kickstarter project to pay special tribute to her father, the late acting icon, Buddy Ebsen, will move you to want to join and be a part of this very special event. Read the full story and join in the fun of the Kickstarter Program!

Chances are good you’ve seen Nancy Kiersten (Kiki) Ebsen onstage if you’ve attended rock and jazz concerts around the country over the past fifteen years. A truly gifted musician in her own right, Ebsen granted examiner.com a special interview to share good news about her latest Kickstarter project, “to my dad, Buddy Ebsen, for Father’s Day. Love, Kiki.”

Thinking her name is familiar? It should be. Kiki is a singer-songwriter whose own compositions are a celebration of jazz, rock, and soul; her emotions flow effortlessly as she plays. When she sings, the power of her vocals conveying the lyrics is mesmerizing. She has a good sense of humor and rapport with the audience when headlining her own house concerts. Basically she was born to be on stage, somewhere, anywhere, everywhere.

You definitely have seen her, if you’ve attended a concert headlined by Christopher Cross, Al Jarreau, Boz Scaggs, Bill Champlin, Peter Cetera, Karla Bonoff, Michael McDonald, and Tracy Chapman, or even just listened to their albums. She’s there.

In addition to being on so many other artists’ music projects, Ebsen has released several of her own albums, including “Red,” “Kiki,” “Cool Songs, Vol. 1,” and “The Beauty Inside.”

Her first Kickstarter project was born when she was rummaging through an old trunk of some of her mother’s memorabilia and came upon the sheet music for a song her dad had written, “Missing You.” As she held that sheet music and heard the melody in her mind, she was inspired to record that song and other song standards that were also important to her dad, about the time that he’d written “Missing You.” She thought, “it would be great to have it done in time for my Father’s Day card to him, even though he’s not here to hear it.”

You might not have made the connection between the singer and her well-known father, beloved actor, dancer and musician, born Christian Ludolph Ebsen, Jr. Or, perhaps Baby Boomers might easily have typecast Buddy as Jed Clampett, of “The Beverly Hillbillies,” rather than a multitalented actor, dancer, singer and songwriter who was first known from his movies, stage productions and even vaudeville shows.

Long before the days of the Clampetts, Ebsen was a popular cast member in “Broadway Melody” movies, and he played “Captain January” alongside the late Shirley Temple. The diverse Ebsen was as popular on stage as he was on television. Still, you saw the versatile actor guest on “Burke’s Law, “Davy Crockett,” “Bonanza,” “Red Skelton,” “Gunsmoke,” and later on another weekly show, “Barnaby Jones,” with Lee Meriwether, a Quinn Martin production.

In fact, when they were growing up, Kiki and her brother, Dustin, knew that their mother was a writer and had a community theatre; that was “her job.” And their father had “his job” on television. They weren’t exactly sure when he was on TV, but they thought that everyone’s dad worked on television because their dad did. That’s the extent to which they were a show-biz family.

One evening, Kiki and Dustin sat down to look for their dad across all the channels to see where he actually was. They tried one channel, then another, and they “sort of, kind of thought” they’d found him, but they weren’t sure. The duo changed the dial through a series of programs and actors until they settled on one man. Both agreed that was indeed “Dad.” Surely that was him! As their mother, Nancy Wolcott McKeown Ebsen, walked into the room, they announced, “Mom, we found Dad on TV!” Nancy said, “No, that’s Lawrence Welk.” Oh well, they kept on watching anyway.

As they grew older Nancy, Dustin, and their siblings, Susannah, Cathy, and Bonnie (by Ebsen’s marriage to Nancy McKeown) and older siblings, Elizabeth and Alix (by Ebsen’s first marriage to Ruth Cambridge) grew up surrounded by as much of a normal non-Hollywood life as you could imagine. Everyone in the family had talent in some form or fashion; it was definitely a creative environment to grow up in, but no pressure to enter show business.

Young Nancy Kiersten Ebsen showed early signs of being a maverick, if not a baby renegade. Her older siblings started calling her “Kirstie,” but she announced one day that she was “Kiki,” and that’s what they should call her. They did. The next sign that she had early talents that were unique and non-mainstream came soon thereafter. Her grandmother played piano, her mother played, and an older sister played, so Kiki was started on lessons. Turns out she didn’t really need them.

Kiki was an obedient child, and so she pleasantly sat for lessons, but once she saw and heard the teacher play a piece, she was able to immediately reproduce the song by ear. Encouraged to “read” rather than “play by ear,” Kiki decided upon a silent compromise. She sat at the piano pretending to read the music, while playing by ear. Don’t you just love her already? Music on her terms.

As she grew, Kiki had many opportunities to find her father on television. Yet outside his regular series roles on “The Beverly Hillbillies,” “Barnaby Jones” and “Matt Houston,” Buddy’s movie talents became clearer, as Kiki discovered her dad’s tremendous dancing in Broadway chorus spots, and later in feature films including “Captain January” and portraying Doc Golightly, the man Holly Golightly left behind in her wake.

Kiki saw how Buddy effortlessly portrayed diverse characters in true-life fashion. One role was too true-to-life. In fact, he was originally supposed to be the scarecrow in “The Wizard of Oz,” but wound up being re-cast as the Tin Man. This was years before producers could use CGI for skin color. In being subjected to repeated applications of alum powder to his skin, Ebsen developed a severe reaction and illness, which landed him in the hospital and out of the movie, “man of tin” no more.

Television would ultimately call him next, just a wish away. Ebsen was a man of many talents—song, dance, composition, and acting.

Staying true to your talent is what Kiki gleaned from watching her dad; that, and the value of working hard and doing your best, which she learned from both parents. Kiki’s mom, Nancy, was a full-time mom who also had her own California playhouse and produced many community theatre shows there regularly.

Kiki’s career in music was strengthened through high school and college. She graduated with a degree in classical voice (BFA '84) from California Institute of the Arts (CalArts).

Her first job after graduation came as a result of fortuitous happenstance. A good friend was offered the opportunity to tour with the iconic band, Chicago, playing keyboards (offstage) whenever Robert Lamm and Bill Champlin would leave their keyboards to take center stage on a song. Turns out, Kiki’s friend didn’t want to tour, so she said, “well if you won’t take that job, I will!” Her first tour with Chicago led to all of the other “big name” artists with whom she would see the country.

Even though her career was filled with backing stars, opening for stars, or perfectly showcasing the compositions of stars, that’s been what Kiki has wanted to do. Music on her terms. Simply the love of making music with people she regarded and respected, of being part of a greater effort, and contributing to a product of excellent has been more than “enough” thus far.

And yet, you can’t keep the creative person confined to structure too long before something inside them propels them to find a new path, at least for a time. All through the years and miles of touring, Kiki was writing her own material, spurred on by the joy of simply making music at the highest level. Her style dares to be confined to a single genre. In fact, it’s not. She writes rock, jazz, and more—material that would fit perfectly on the pickiest terrestrial adult-contemporary station (if they were likely to play anything that was outside their formulaic “The Eagles-Journey-John Mellencamp” tightly packed programming).

Ebsen’s own compositions have been “covered by Boney James, Eric Marienthal and Jessy J.” Plus, she’s been on television with Blake Shelton, Kenny Loggins, Glen Campbell, Michele Branch, Gloria Estefan, Melissa Etheridge, and her two hands-down favorites, Robert Goulet and Dolly Parton. No doubt about it—Kiki Ebsen is a first-call musician and has the respect of all the biggest names in the business today.

Yet, like 95% of quality musicians today, the days of the big record labels and singles launched on the radio we used to know are gone. Today, artists create their music, build and grow their following, and produce their CDs to sell to people who already know their work. It’s worked well for the past 10 years to develop this path. Social media is a powerful tool that helps artists by-pass traditional major labels. Facebook pages help fans track upcoming concerts. Twitter encourages direct contact between artists and fans.

In fact, constituencies and contingencies of music fans flourish on Twitter; just ask Will Champlin, a new young talent and musician who rocketed to national awareness last year on NBC’s “The Voice.” Champlin has 87,700 followers on Twitter, and one of those followers is Kiki Ebsen, as she’s known him since he was about 3 years old. Remember Ebsen played offstage for Chicago and later toured (separately) with Peter Cetera and Bill Champlin. It’s just one big musical family out there. Turns out Will and Kiki were on the same music bill recently and she had a chance “to hug his neck and tell him how proud she is of how well he is doing making his own music.”

Not long ago, as Kiki considered her own musical roots and family, it led her to look through some old trunks of things saved from her family’s home. As she pored over prized history, Ebsen discovered something that would ultimately change her life: a song that her father had written captured her eye and her imagination.

As Kiki shares in her own words on her current Kickstarter campaign:

A few years ago I discovered buried in my mother’s attic a box of original scripts and music from my father’s career. Among them were Born To Dance, Yokel Boy and even a songbook from The Wizard of Oz with his handwritten notes in it. I also found a tune my father had written called “Missing You," a song so beautiful and poignant it felt like a gift just for me. I began to include it in my shows and got chills before performing it, as if my dad was there with me.

Kiki’s drive to make an album of jazz standards in tribute to her father would then begin with “Missing You” as the centerpiece, her returning her father’s gift—years in finding its way to her—back to him, with love. She then decided to include songs she knew were her dad’s favorites, including:

“Moon River” (because he was in “Breakfast in Tiffany’s), “Somewhere Over the Rainbow” (because he was supposed to originally portray the Scarecrow in “The Wizard of Oz” and was switched to the Tin Man, until the alum poisoning took him from the movie altogether) “Easy to Love” (from the Broadway Melody movie series he was in) “Laura” (his favorite song) “Codfish Ball” (from “Captain January,” the movie with Shirley Temple where he portrayed the title role) “St. Louis Blues” (the first song that Buddy taught his maverick maiden on the piano) “Tea for Two” (Buddy’s signature dance routine that took his vaudeville skills ultimately into the movies).

The Kickstarter campaign is an opportunity for Ebsen to focus time and effort to complete her tribute to her dad in time for Father’s Day. In just 3 weeks, as of March 24, 2014, Ebsen has already raised pledges of $9,580 of her $12,000 goal from 123 backers. This is only by word-of-mouth, with people discovering that this gift of love for her father is on Kiki’s mind. The album is tentatively entitled “Scarecrow,” and with a successfully funded Kickstarter (or Keekstarter as she wryly titled one of her YouTube updates), she’ll be on her way to finishing. The album title also reminds you that a scarecrow is often overlooked but serves a valuable role out in the field standing all alone.

Ever the upstart, Ebsen has made a major financial commitment to animal rescue as well as to her Healing Equine Ranch, a nonprofit that brings people together with an opportunity for spiritual renewal via communication with nature, to study the intelligence of and learn by interacting with horses. That’s in her spare time.

To enjoy some of Kiki’s past performances that showcase her singing and playing, click on any of the links that follow to hear and see her work:

Kiki Ebsen, "Woodstock"; Christopher Cross “Never Be the Same” with Kiki Ebsen on keyboards and backing vocals; Christopher Cross duet with Kiki Ebsen, “Spinning” performed in Tokyo, Japan; Christopher Cross duet with Kiki Ebsen, “Open Up My Window”.

Preview a song from the upcoming “Scarecrow Sessions,” and consider a special Kickstarter contribution of support: Check out “Missing You” written by Buddy Ebsen (with Zeke Manners), performed by Kiki Ebsen. Musicians she’s joined by include David Mann as producer (plus sax and flute), John Patitucci (acoustic bass), Henry Hey (piano), and Clint de Ganon (drums).

Remember that Ebsen has neither craved, nor sought, a spotlight before, nor has she ever used her famous family name to direct attention her way. Instead, she has preferred to push herself—on her own—to create and share her music in intimate settings and venues when she’s not on the road. Perhaps as her amazing talent becomes better known, she’ll find more individual showcases for travel and performance on her own, as well as with all the artists who seek her to join them.

Opportunities to share your support for Kiki’s vision begin at an affordable $10, $15, $25, $50, $100, and more. Once you hear her voice, you’ll want to be a part of this outstanding opportunity to lift up a daughter’s love for her father. Don’t let the $12,000 end goal limit your enthusiasm, because anyone who’s followed a musician’s career knows that it takes money after the music is made to get the project out for distribution. The full project cost is somewhere closer to $22,000. Music on her terms.

For every daughter who loves her father, from every father who loves his daughter, and for those who wish they could still hug their loved ones’ necks today, here’s your chance. Join Kiki in her Kickstarter campaign, help her reach her goal, and take her over the top so others can discover her, too. You’ll be glad you did, come Father’s Day.

As a nice postscript, six months later, I discovered this video on YouTube:

As an even nicer postscript, the results of Kiki's Kickstarter project were entirely successful, and the Kickstarter site noted that "180 backers came together to pledge $13,216 (exceeding her goal) to help bring this project to life." And true to her word, the "Scarecrow Sessions" CD was in the hands of backers by Father's Day and you could watch her online in her Father's Day 2014 concert debuting the music if you couldn't attend in person. Bravo!