As she’d just concluded her medley, “You Are My Lucky Star” and “I Got a Feelin’ You’re Foolin’”) from “Broadway Melody of 1936,” entertainer Kiki Ebsen sat at the piano to sing “Missing You,” cowritten by her father, Buddy Ebsen, and his writing partner Zeke Manners. The song is emotional, powerful, and no one else but Kiki can bring it to life as she reflects on the seven-decade career of her father's history. But then a 7.1 earthquake came, at 8:13 p.m, just one day after the foreshock quake in Ridgecrest, CA that was felt as far away as Las Vegas, Nevada.
As the patrons of Feinstein’s at Vitello’s experienced the earthquake, Kiki remained entirely in control, noting to her crowd, "The exits are there (pointing) and there." She waited the minute for things to settle down, and stated casually, “Well, we’ll keep going now, and just remember if this is the end, you’ll hear my dulcet tones as we’re going into the next world.” The audience laughed, relieved. She said, "Not one of you went for the exits! This is MY kind of audience!" and the crowd again erupted with laughter.
She re-checked, “Are you all really okay?” They assured her they were. She announced, “This is a song called “Missing You,” but I’m a little concerned that if I sing it, the earth is going to start shaking again.” As though addressing her late parents, she continued, “Let’s cool it up there. When I ask for help, that’s not the kind of help I was asking for!” The audience laughed and, without missing a beat, she went easily into her song.
Videographer Gregory Gast captured the following video of Kiki, before, during and after the quake, and you just have to hear everything she says as she maintains complete calm while sending the audience into gales of laughter. That's the mark of a real professional! This lady deserves her own TV show. Priceless comedy combined with total calm, and she sings so beautifully. Kiki Ebsen is the real deal.
Clifford Bell, jazz and cabaret empressario, offered the perfect bon mot on Facebook. He posted a photo of Kiki onstage with the caption:
At Kiki Ebsen‘s fabulous show with a packed house at Feinstein’s At Vitello’s. And EARTHQUAKE. She handled it beautifully but that was a little like The Poseidon Adventure. And the Chandelier was swinging. I hope she sings ‘The Morning After.’
Kaylene Peoples, musician/composer/publisher, added: “We survived the rolling. Kiki Ebsen is the ultimate performer and handled the situation like the pro that she is!” Those were just two of the real-time social media posts that captured the excitement and the calm of the evening, securely in Kiki’s hands.
After the show, Ebsen said, “Naturally, I realized we'd had an earthquake, but I knew I had a responsibility to my audience to assure we were all safe, the staff was safe, and we could go on with our show, as that’s why everyone had come.” Longtime fan, Jeffrey Dalrymple from North Carolina, in town on business, came dressed Hollywood style; others also chose to adopt the style of the grand old days of Hollywood.
What a difference a new perspective can bring to a performer when they take the stage at a once familiar, yet newly redesigned, venue such as Feinstein’s at Vitello’s was last evening! The evening had just started with jazz instrumental "On Green Dolphin Street."
[L to R: Grant Geissman, Lee Meriwether, Kiki Ebsen, Debby Boone, and Kim Richmond; photo by Annette Lum.]
Ebsen invited two dear longtime friends to join her, Grammy-winning singer, entertainer Debby Boone, and actress Lee Meriwether, two-time Golden Globe and Emmy nominee.
Kiki intended this show as a one-time tribute to the golden age of "Old Hollywood," and its brightest stars, including Meriwether. Kiki's teen years intersected with Buddy's "Barnaby Jones" days and she recalled occasional family celebrations in classic venues such as Chasen's and Musso & Frank's. For most of her teen years, the younger Ebsen children lived near the Santa Monica mountains, away from the bright lights, but still Kiki remembered the stories of the grandest days of Hollywood jazz.
She invited renowned jazz pianist Jeff Colella as Musical Director, along with dynamic drummer Kendall Kay, who has worked with Kiki since 1993, superb bass player Granville “Danny” Young, and inimitable saxophonist Kim Richmond (from their "K Project” jazz) to set the mood for the show she called “Jazzing Up the 5th of July.” [Below, L to R: Jeff Colella, Kiki Ebsen, Granville Young, Kendall Kay, and Kim Richmond; photo by Annette Lum.]
Three-time Emmy nominee for composing, jazz guitar great Grant Geissman joined Kiki on four songs. Geissman is prominent in Kiki’s Joni Mitchell Project band, and he's part of Kiki’s new CD of original songs, coming soon. Thus, the perfect evening was set.
Champion of the Great American Songbook, musician/conductor Michael Feinstein, had recently partnered with Vitello’s owner Brad Roen to debut the all-new Feinstein’s at Vitello’s. As the band opened the show with “On Green Dolphin Street,” a 1940s tune that went perfectly with the club’s new ambience.
As Ebsen took the stage, she continued the music of early Hollywood with “You Are My Lucky Star” and “I Got a Feelin’ You’re Foolin’,” both from the movie “Broadway Melody of 1936,” paying tribute to Buddy Ebsen's passing, July 6, 2003.
Kiki continued with “Devil May Care,” written by Harry Warren and Johnny Burke, then was delighted to bring actress and singer Lee Meriwether to the stage to sing “Rendezvous,” a song written by Buddy Ebsen and Zeke Manners. Beginning her Hollywood career officially when she was crowned Miss America 1955, Lee Ann Meriwether has been a star of film and stage for so long, it’s hard to name all the works she’s been famous for. One of her favorite roles, though, was as Buddy Ebsen’s daughter-in-law Betty, on CBS' “Barnaby Jones,” produced by the prolific Quinn Martin. For eight seasons audiences loved Lee, who's said often that she adored the opportunity to work with Buddy.
Ebsen followed with a powerful arrangement of “Twisted,” written by tenor saxophonist Wardell Gray, and lyrics by Annie Ross. Stories about growing up in Hollywood were shared between tunes. Before “Moon River” Ebsen related how excruciating it was as a child to see her father’s heart breaking on that screen every time that film was seen.
As she sang, one can imagine her childhood reaction seeing tears forming in his resplendent blue eyes. Of all the roles Buddy is known for in multiple arts genres, Kiki's audience was shocked to realize that he had achieved exactly “zero” nominations for EMMYs, Oscars, or Tony Awards. Perhaps that’s the secret to having an enduring career for seven decades—work so hard that you never have time for award nominations to catch up with you!
Following another instrumental, Grant Geissman joined Kiki for “Easy to Love” and “Why Dontcha Do Right?” followed by Kiki weaving her own magic around Joni Mitchell's “Goodbye Porkpie Hat.”
Ebsen then introduced longtime friend, Grammy-award winning singer, Debby Boone, to the stage. Boone shared precious memories of growing up with her family living across the street from the Dean Martin family. She then sang “Everybody Loves Somebody” in a poignant tribute to Martin. Debby's recent album, "Swing This," exhibits her mastery of the music she loves. Boone still tours the country in concert and occasionally performs her "Reflections of Rosemary" as a tribute to her late mother-in-law, Rosemary Clooney.
Kiki returned to the stage to sing “Codfish Ball,” from the Buddy Ebsen–Shirley Temple film, “Captain January.” Ebsen then pulled out a letter that Buddy had written during the filming of that movie, addressed to his parents in Florida. Buddy’s letter and Kiki’s reading of it, sharing insight into a young Shirley Temple were both hilarious. Her rapport with the audience is so clear as Kiki is always at home on stage.
As Ebsen performed “St. Louis Blues,” your mind could easily wander back to the 1958 film “St. Louis Blues,” the story of W. C. Handy, starring Eartha Kitt, and Nat King Cole, Ella Fitzgerald, Pearl Bailey, and Cab Calloway. Kiki mentioned she'd discovered a beautiful magazine photo of Eartha Kitt with her dad in Chasen's, enjoying martinis and conversation. That's part of old Hollywood evenings, time for cocktails, conversation, dinner, and music following. Today's Hollywood entertainment tries hard to recreate the "events" of yesteryear, but at least in the new Feinstein's, the setting is just right.
Ebsen prefaced her last song, “If I Only Had a Brain,” with the story of how Buddy Ebsen was cast as the Original Tin Man. She was joined by Grant Geissman for her powerful rendition as the audience reflected on what it had to have been like for Ebsen to hear he had a major role, as the Scarecrow, and the Tin Man. Yet, he never once revealed that heartbreak to his own children during his life. [Left: Grant Geissman and Kiki Ebsen; photo by Clifford Bell.]
There’s a favorite old saying, “Don’t miss something that only happens once in a lifetime.” As proof of its veracity, concluding the evening, Kiki invited Debby and Lee back to the stage. The trio blended on a priceless rendition of “Our Love Is Here to Stay,” showcasing the loving friendship and admiration shared by two Hollywood generations, each talented on their own.
Kiki then announced to the audience the fall debut of her newly expanded and revised stage presentation, “To Dad with Love: A Tribute to Buddy Ebsen,” set to premiere the weekend of September 6–8 at Hollywood’s oldest continually operating Theatre West. She also invited the audience to visit the ticket link at www.buddyebsentribute.com, to obtain a 20% discount from 7/6–7/22 for Early Bird general admission seats.
With that, the audience jumped to their feet, applauding, reacting to priceless moments of Hollywood magic they’d experienced, for a few fleeting hours in that special club. If you missed it because it was a sold-out show, you have another opportunity to get in on the beauty of more Hollywood excitement of a different type, coming this September.
There’s more magic in the true story of Buddy Ebsen’s legendary career. And with Kiki Ebsen as your guide to the past, you're guaranteed a magnificent presentation of his life, in song, story, and dance. No parent could hope to be remembered as beautifully as Kiki remembers her dad.
A favorite quote from Buddy Ebsen goes:
"Remember, that of all the elements that comprise a human being, the most important, the most essential, the one that will sustain, transcend, overcome and vanquish obstacles is--Spirit."
Just as she soared and flew on the wings of jazz at Feinstein's at Vitello's, continuing her father's tradition, even in the face of an earthquake, Kiki Ebsen will always move you with her spirit, style, and talent.
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!
On Saturday night, Sept. 14, the most amazing thing happened at Hollywood’s Theatre West. As Kiki Ebsen made her appearance on stage as a beautiful silhouette, the house lights took over control on their own, it seemed. Carrying on seamlessly, working basically in darkness, Ebsen walked toward her discovery of a large trunk, of which all of us could make an outline in the dark.
Suddenly, fervently, the yellow light trees flashed and rolled up and down across the stage as though a giant thunderstorm were outside, and Kiki kept on studying the trunk and began to examine its contents. The light show only lasted 15 seconds, then returned to pitch black. Ever the professional, Kiki pulled something from the trunk, strode toward the piano bench and sat down.
As she began to play the opening note of her father’s composition (with Zeke Manners) of “Missing You,” to the second that her fingers touched the keyboard, a single spotlight appeared on her as she sang “Missing you, when shadows fall….missing you now, most of all…” and as though divine intervention had now concluded, the rest of the lights were restored and never once during the rest of the show did Ernest McDaniel’s brilliant creation ever deviate from perfection. It was clearly out of his hands in the first place. The audience had no idea this wasn’t planned, so seamless was the transition. But, having arrived from Texas the day before, I’d also seen the prior night’s performance, hence the insight.
Close friends and family who attended Buddy Ebsen’s public memorial (August 2003), held at the Academy of Television Arts & Sciences’ Leonard H. Goldenson Theatre, are familiar with the sudden variation in electricity that occurred for that event, as Kiki took the stage to sing “Missing You” in honor of her dad. She was to sing accompanied by a prerecorded music track. Not once, but twice, had she begun the song in her dulcet tones, only to have the music stop, dead in its tracks. Unabashedly, Kiki waited, the engineer restarted the song, and Kiki again sang the opening line, and the same thing happened again. Undaunted this time, Kiki smiled, and as she held the audience in the palm of her hand with her complete comfort on stage, she simply began the song a cappella. As you might readily expect, the music track began again, exactly on cue where it was supposed to be, within the song.
Before you look left and right for Rod Serling, or maybe recall the images of Patrick Swayze, Demi Moore, and Whoopi Goldberg in Ghost, it might just be a given that wherever Buddy Ebsen’s name is involved, and whenever Kiki Ebsen is nearby, there’s a connection beyond the realm of one world that seems to reach out and find the other. Two life lessons we know to be true, one thanks to science, is that energy is neither created nor destroyed; and love never dies as it transcends time and space, eternally.
“To Dad With Love: A Tribute to Buddy Ebsen” creates a beautiful pathway to restoration and rejuvenation in any father-daughter relationship, and the elements of healing that come with time. Co-created by Kiki Ebsen and Dustin Ebsen, the multimedia images that Dustin and Kiki had selected, updated and augmented by Dustin’s newest discoveries, might just bring you to tears on their own accord. New photos accentuate the bond between the youngest siblings as together they navigated the world of comprehending Hollywood.
A fun time for all the Ebsen children was when Buddy took them all on the road with him, Kiki explains, in a production called “An Evening That’s Entertainment.” That tour would mark further determination for at least four of the children to make Arts & Entertainment some major aspect of their future careers, albeit via four very distinct pathways. [TV Guide article from Aug. 9, 1975, author's personal collection]
Seeing the premiere of an all-new theatrical production by StKi, LLC and expert direction of S.E. Feinberg was so powerful that it afforded me the opportunity to unlock my own closely held opinions about the long estranged relationship I had with my own father during my young adulthood, a subject I’d avoided thinking about for years.
What opened the floodgates of memories for me that night? The honest, raw courage that Kiki had for bringing her own story to the public, of missing out on solid time together that would have been the most important time in her young adult life. Feinberg brings that level of expertise to every project with which he is associated; he's also an accomplished author, most recently with P.F. (Phil) Sloan on his biography (What's Exactly the Matter with Me?) and filming of his screenplay, The Happy Worker.
The lessons we learn in life often come with a price we have to pay. We also have to choose how we will regard those life lessons, especially those that come with a high price. Perhaps we lose our childhood beliefs in adults’ perfection a little sooner than we should. Maybe we see them as "just human" before we really want to. No matter the reason, every person from Hollywood to the Hudson Valley who knew Buddy Ebsen from TV alone as either (Uncle) Jed Clampett, Barnaby Jones, or even (Uncle) Roy Houston feels a special kinship to an icon they grew up watching on television.
That is one way in which we “know” Buddy, even when we don’t, or didn’t, at his most complex. For he was a writer—of songs, letters, and his own autobiography (The Other Side of Oz) and was prolific and gifted in his expressing his feelings. His songs, usually cowritten with a talented partner, were upbeat, happy, and at times—deep. His time spent with his family, though, was precious to him and therefore private. So, when Kiki reveals his complex persona that afforded him the strength to defeat all sorrow, ignore all pain, and overcome all obstacles by simply choosing to focus on optimism, faith, strength, and kindness toward others, we want to love him even more.
Given Dustin Ebsen chose images of himself and Kiki as young teens, you can’t help but wipe away the tears from your eyes, as you quickly identify that, just at the cusp of becoming adults, on one side of their world was life among nature and the animals on the ranch, and the other that beckoned was teeming with celebrity, status seekers who wanted to be their friends, and some people worth their time, others not so much. Until you’ve walked that path, as you do in this story, you just don’t know what it’s like. Kiki Ebsen inherited talent from both her parents, as did all their children. I’ve had the pleasure of meeting six of his eight children (two by his first marriage, six by his second) so it’s personal opinion substantiated by experience.
And yet, Kiki is entirely unique—she embraced the worlds of both parents (community theatre and acting/directing from her mother and, well, everything else from her father). Then, she absorbed all that and struck out on her own in music, her own music at first and then the music of the greatest in contemporary pop/jazz/blues/singer-songwriter genres. She can sing opera one moment, symphonic arrangements of rock songs with full orchestra another, then pull out her guitar and sing a very country version of “Loudmouth Girl” (her composition), or pull into a festival and fire up the night singing Joni Mitchell songs with her first-call jazz band, and then wheel on in to Theatre West and sing, dance, play the banjo, make you laugh, bring you to tears, and then wipe away those tears with her brilliant acting—all over the course of a few months’ time in her performance schedule. [Below photo (c) by Cliff Lipson, used with permission.]
In “To Dad with Love: A Tribute to Buddy Ebsen,” the most powerful words in the script were not written by Kiki Ebsen. They were instead solid feelings conveyed by Kiki, as you see a woman of grace and dignity, who possesses a keen sense of comedic timing, loves to tell a story, sings to perfection, and who appreciates every single member of her premiere band (Jeff Colella/Perry LaMarca, piano; Kendall Kay/Bernie Dresel, drums; Granville “Danny” Young, bass; and Kim Richmond, woodwinds)—all while making it look easy. That’s communication and conveyance at its finest.
Yet, Kiki has undoubtedly spent countless hours writing (and rewriting over the past year), honing her message, to those who might have viewed a preliminary but very different version of her show. Together with an unparalleled talent in director S.E. (Steve) Feinberg, who inherently brings the best to, and inspires the best in, every production in which he is intricately involved, she flourishes. Kiki’s husband, Steve Wallace, her coproducer in StKi, LLC, who has staged this production, designed the evening’s sound so perfectly and intricately that at least three other reviewers have noted the outstanding quality of the sound, when typically the only time anyone ever writes about sound is when they don’t like it! He has her “dialed in” as performers love to say.
Let's talk about dancing! For the majority of her career, Kiki Ebsen was been described as a talented, first-call keyboard player and backing vocal musician. Later, she was described as a dynamic singer and eventual premiere jazz headliner and sultry song stylist. All are true. However, one glaring omission was her classification as a tap dancer who possesses skill and a comedic flair as she "goes her Aunt Vilma one step better" in her brilliant dance performance with choreographer Gregory Gast. Without giving anything away, let me just say that I believe, somewhere in Heaven, Lucille Ball has acknowledged another redhead who should be adored because she, too, was a most talented dancer who possessed impeccable comedic timing. Greg Gast is the quintessential dance partner, and has additional bona fides of having danced with the renowned Rusty Frank at Buddy Ebsen's 2003 memorial service. Come for the music and the story; stay for the dancing!
Having watched Ernest McDaniel at work behind the scenes before the show several times, it is gratifying to see how much dedication to and love for live theatre he possesses, especially for the historic Theatre West and this particular show. His abundant gifts and talents shine throughout the production. The entire Theatre West family is excited about this show’s run, now extended to a fourth weekend for this must-see show.
The story of Buddy Ebsen’s seven-decade career over his 95-year life is told, with exceptional talent, joy, and love in story and song, by his youngest daughter, upon whom all stars shine brightly, with joy, as Kiki Ebsen performs brilliantly in “To Dad with Love: A Tribute to Buddy Ebsen.” The entire evening is “Lights Out” grand!
If you go: Tickets for the remaining six shows are available at BuddyEbsenTribute.com or TheatreWest.org. Theatre West is located at 3333 Cahuenga Blvd. West, Los Angeles, CA 90068 and $5 parking is conveniently available directly across the street. More info at www.BuddyEbsenTribute.com
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.
Among the first of Kiki Ebsen’s original songs that became synonymous with my perception of her is that she possessed an inner beauty and honest truth with which she offered her gifts and talents to the world. My first opportunity to hear her sing in concert was from Row 7 stage right at the Cynthia Woods Mitchell Pavilion in Houston, Texas over 20 years ago.
Last evening in North Hollywood, California, I had another perfect seat in a packed house in Theatre West. And this time, the beauty had transcended from inside her heart to rest gently on her face as she delivered an exceptional montage of music, multimedia, and truthful memories about growing up with two talented parents, mother Nancy, trained stage actress and theatre director, and father, Buddy, an entertainment icon.
Against a backdrop of beautiful images that show the nuances of two entertainers named Ebsen, it is true that you can see an unmistakable family resemblance but one could never imagine of either performer that there would be so many parallels in their careers. It’s likely that most people assume that Buddy Ebsen’s life as “Jed Clampett” in “The Beverly Hillbillies” and "Barnaby Jones" of the eponymous TV series, coupled with portraying Davy Crockett’s best friend, "Georgie Russell" would have had, as precursor, an unparalleled series of successes.
Then, too, when you hear Kiki sing anything she chooses¬—from Great American Songbook, to slammin’ hard rock, Joni Mitchell, Laura Nyro, then on to classical selections, or her latest favorite, jazz, her voice, as my friend next to me said, “has an ethereal, effortless tone.” I agree.
What’s different in an audience’s perception of Buddy and Kiki, from what Kiki shared last night, is that there was an honest estrangement between them for many years. Looking in from the outside, it’s abundantly clear that the two were more alike than either would realize at the time.
Fiercely independent, refusing to be “owned” by anyone, fully capable and in charge of any task given them, passionate about causes they believe in, and a generous spirit of giving that is, frankly, unique in the world of many successful entertainers. They’re also both hardheaded as all get out, and in that is their survival. No one ever, ever keeps them down for long. They’ll get right back up again when someone says, “You’ll never be able to do that.” And yet they possess the grace not to tell naysayers, “I told you so” to their faces.
Kiki shared Buddy’s beautiful life philosophy in a quote from her dad:
Remember, that of all the elements that comprise a human being, the most important, the most essential, the one that will sustain, transcend, overcome and vanquish obstacles is Spirit!
~~Buddy Ebsen
The story of how “To Dad with Love: A Tribute to Buddy Ebsen” is best shared when you see the show for yourself. The music selections you’ll hear Kiki sing are from reviewing the music of Buddy's Broadway, film, and television career, and they take you back to a day when people were thoughtful, civil, kept their promises and had integrity. Your word was your bond.
Kiki makes the audience listen, laugh, sing a little, enjoy a lot, and yes—cry—as she reveals challenges in her life, particularly in the teen years in which she and her brother Dustin were formulating the kind of adults they would become. Choices—it’s all about choices you make and some are more sacrificial than others. And yet, you have each day to start anew, block out the naysayers, determine on your own to create on your own terms and to succeed, simply for yourself first, sharing your time, gifts, and talents with others as the occasion arises.
As Kiki performs her father’s composition, “Angelica,” a composite of the mischief that a little girl with red hair can get into (with six daughters, Buddy never lacked for storyboard!), one can just imagine her as a youngster who thought the last place she’d ever be was on stage. And yet, she would grow to be a performer who belongs and is easily at home on anystage she chooses. Author Charlotte Steiner wrote a popular children’s book series that revolved around a little girl, about the same age, which Kiki’s mother, Nancy, got her many books in the series.
Her first book she received was “Kiki Loves Music.” Another is “Kiki Dances.” Seeing her dance with Gregory Gast, check "Yes" to that one! Yet another is “Kiki is an Actress.” Just as the child created by a woman named Charlotte “could do anything she set her mind to,” so can the woman born Nancy Kiersten Ebsen. Versatility is key to Kiki’s happiness, never content just to reside in a world of other’s expectations. Nor can you overlook the love, support, encouragement and enthusiasm of her brother, Dusty, who was “in” for whatever Kiki dreamed up, and no prouder advocate of her brother’s achievements as a multimedia creative and father is there than Kiki.
So, it’s only natural that a show would come from a beautiful album, “Scarecrow Sessions” released in 2014. The story behind the album is beautifully shared by Kiki in her show. For those who are attending performances tonight and tomorrow, let them find out for themselves what they have to look forward to.
Director Steve Feinberg is a gift from above as he has vision, patience, wisdom, and talent as theatre director equal to his abilities as author and playwright. The sound system which made the evening an aural joy was made possible thanks to Bryan Frieders, with expert engineering by Steve Wallace, talented in his own right with numerous years of sound design for Grammy-winning artists in his prior carer, and also proud husband to Kiki.
The music for the evening is another gift from above—Jeff Colella playing Theatre West’s piano—a generous loan from Lee Meriwether of her mother’s beautiful instrument—made it even more special to hear. Granville “Danny” Young on bass, Kendall Kay on drums and Kim Richmond on woodwinds are a quartet with such synergy and talent, you just have to hear them for yourself—they accompany Kiki with precision, joy, and grace.
Moreover, the amazing team Theatre West is understated, yet brilliant. They are prolific in productions they offer as well as those they host for audiences to enjoy. Publicity specialist Sandra Kuker made Hollywood sit up and take notice of this special engagement, and the night’s opening performance—a benefit for Theatre West—was deemed a major success by Executive Director Spike Dolomite Ward.
Board members functioned in so many roles, just consider them the engine that flies the plane, as to how vital and dynamic their contributions were. I witnessed this personally as I had a chance to watch them all in action during final rehearsal for the show. I’m convinced that Linda Rand was the inspiration for creating Lindsey Wagner’s hit, “The Bionic Woman” as she was in nine places within two minutes, accomplishing 17 things and made it look easy!
No matter how much behind the scenes viewing I had, though, nothing had prepared me for the newly expanded performance of “To Dad with Love.” I only thought I knew what I was going to see and hear, but I was not expecting to be so impacted by Kiki’s sharing her truth that I’d break into tears five times during the show. And yet, the tears were unstoppable to hear what challenges she’d been through. The story ends happily though as the irrepressible Kiki is, and always will be, able to face and conquer any challenge life may present her with. She deserves the greatest respect for her revelations, and the standing ovation she received and numerous show interruptions to applaud and embrace her gifts and those of her musicians were beautifully deserved.
We only get one life and we have every day to live it to the fullest or fill our time with unproductive lamentations of “coulda, shoulda, woulda.” Kiki and Dusty Ebsen, and all those who love them love them even more after seeing “To Dad with Love: A Tribute to Buddy Ebsen.”
And as the thunder held forth above Theatre West last night, and the rain came flowing down to the surprise of everyone, it was as though the sky had opened and shed tears of joy for the healing felt by all who heard her story and could identify with times in their own lives.
From Kiki’s own composition she performs in the show, from “The Beauty Inside” reflect her:
“Are we not beautiful in all of our brokenness
And do you still love me when I am crying out loud?
Can you see that I was not put here on this earth
Just to make you so incredibly proud?“
~~Kiki Ebsen
She played and sang the song she wrote so long ago from her album, “The Beauty Inside” and as you saw her and heard her, you could feel the pain she once felt. By the end of the show you could revel in the healing that she led for all of us.
As I studied the image of a beautiful Audrey Hepburn last night staring into the eyes of a handsome, debonair Buddy Ebsen, with his trademark beautiful blue eyes, some quotes attributed to Audrey Hepburn” flew into my mind and I wrote them down as soon as I got home.
“The beauty in a woman is not in the clothes she wears, the figure that she carried, or the way she combs her hair.
The beauty in a woman is seen in her eyes, because that is the doorway to her heart, the place where love resides.
The beauty in a woman is reflected in her soul. It’s the caring that she lovingly gives, the passion that she shows, and the beauty of a woman only grows with passing years.” ~~ Audrey Hepburn
And so, with this latest offering of talent and inspiration, from the heart, soul, and mind of Kiki Ebsen, and the loving gifts of her brother Dustin, we all experienced a great and glorious healing last night. Kiki Ebsen: the real deal. The beauty inside, indeed.
[Special thanks to Sheryl Aronson, Arting Around for the beautiful photos taken last evening at Theatre West.]
Since 1970 Austin, Texas, has been able to provide “high quality, affordable healthcare with dignity and respect” for the medically underserved and uninsured in central Texas, thanks to the nonprofit People’s Community Clinic. Volunteer doctors and nurses funded this important organization in a church basement, paving the way for other community healthcare organizations, which is “one of the oldest continually-running independent clinics for primary care in America.”
The hearts and minds of caring medical practitioners started this initiative, and some 45 years later, who better to partner with in a dynamic fundraiser than the Central Texas Medical Orchestra, a group of “medical professionals who enjoy music fellowship and performance outlets that raise funds in support of local health-related nonprofits.” The Saturday, Nov. 14, the CTMO is offering an exciting evening of music and memories, at St. Michael’s Episcopal Church, starring the acclaimed vocalist and songwriter, Kiki Ebsen. Popular violinist Bryan Hall is also be featured in this second musical partnership event between the PCC and CTMO. The Central Texas Medical Orchestra is led by Musical Director, Dr. Robert Radmer.
Speaking by phone from Los Angeles yesterday, Kiki Ebsen said in her travels as a vocalist and musician, Austin was one of her favorite venues to perform in and that she was “very excited to be coming back to Austin to perform with the scholar-artists of the Central Texas Medical Orchestra to support the People’s Community Clinic. She said, “My father, Buddy Ebsen, began his college career as a pre-med major; he wanted to become a doctor, but economic challenges forced him to give up that dream.” Turns out that his second career choice, as a dancer, led to New York’s Broadway stage, then film, television and various recording projects, as he would discover a hidden talent for songwriting and singing among his myriad gifts and talents.
From father to daughter, a love of entertainment was passed on, as Kiki grew up watching her dad perform. Although he suggested she use her vocal gifts for jazz as a natural outlet, she was more interested in listening to Heart, Alice Cooper, and plenty of hard rock. For the past 20 years, Kiki’s voice and keyboards have been heard on international tours backing Austin-favorite Christopher Cross, Boz Scaggs, Tracy Chapman, Wilson Phillips, James Ingram, Al Jarreau and the band Chicago.
Two years ago, Kiki said she “discovered a box in the attic of her mother’s home, which contained a true treasure trove of some of the most important times in his career,” previously unbeknown to his children. Among those prized mementos was Buddy’s original movie script from “The Wizard of Oz,” where he was originally cast as the Scarecrow.
As happens often in Hollywood, someone intercedes in casting decisions, and Louis B. Mayer decided that dancer Ray Bolger should be the Scarecrow, so Buddy was recast as the Tin Man instead. Speaking of medicine, early Hollywood makeup artists were clueless that massive doses of pure powdered aluminum painted on Buddy’s skin would lead to a critical respiratory system failure.
Bedridden in the hospital, as Buddy recuperated from the life-threatening accidental poisoning, producers proclaimed “the show must go on” and recast Jack Haley, Jr. as the Tin Man. That time, the makeup people learned from experience not to use aluminum. Buddy, of course, was devastated at losing the prime role in this now-iconic movie, but he never publicly shared his sorrow about that, not even with his own family. It was not until Buddy was in his 90s that he even told his children about the incident. Fortunately a few filmed scenes showing Buddy were included in the final film, which just celebrated its 75th anniversary year of popularity.
As an ode “to the big role that got away,” Kiki developed an album concept, “Scarecrow Sessions,” and recorded songs that were important to the films of Buddy’s career, including “Moon River” (“Breakfast at Tiffany’s”), “Codfish Ball (“Captain January”), “If I Only Had a Brain’ (“The Wizard of Oz”), plus a song Buddy wrote with music partner Zeke Ebsen, “Missing You,” a sultry haunting melody that Kiki sings poignantly and perfectly.
The schedule for the CTMO Fundraiser Concert evening starts at 6:30 p.m.–7:15 p.m., with “Growing up with Buddy,” a ticketed preconcert presentation by Kiki Ebsen, who will share what it was like growing up with a father who had the number-one rated show on national television. The evening’s concert begins at 7:30 p.m., and is held at St. Michael’s Episcopal Church, 1500 N. Capital of Texas Highway. Organizers say some tickets are still available, ranging from a very affordable $10 for students, to $15 and $20 for the public.
The Chief Executive Officer of the People’s Community Clinic is Regina Rogoff, JD, and a recent story on Latino Magazine.com notes that “individual donors provide almost half of PCC’s funding (a $12M operating budget),” which is extremely impressive as a measure of the heart of philanthropy in central Texas. They are tremendous stewards of the funds provided to them and the upcoming fundraiser, deep in the heart of Central Texas, will go a long way towards helping the mission of People’s Community Clinic continue to be served.
This Saturday, Ebsen said, “Come and listen to a story ‘bout a man named Jed,” and stay for a concert that will bring the glamor of Hollywood to Texas on the wings of piano, violin, orchestra, and Kiki Ebsen, an unforgettable evening of great music and generous philanthropy, courtesy of all those whose hearts and minds remain fixed on helping others.
Across America, where great symphony orchestras struggle to find and maintain adequate funding to support the sharing of classical music and music classics with the public, the stellar Pasadena Symphony Orchestra is a priority to the leadership of the City of Pasadena, California. Clearly, the PSO is now flourishing in both audience and patronage, thanks to a dedicated Board of Directors and staff executives, whose commitment of time and resources underscores its value.
Bringing vibrant entertainment and sharing important music from the Great American Songbook and favorite Broadway tunes is the overall emphasis of the general Pops programming. The City of Pasadena has enthusiastically committed time and resources for this annual free concert, their gift back to the community. Each year the attendance has grown even larger and represents highest and best use of public funding as evidenced by Saturday night’s crowd. Organizers were heard to call it a “new record-setting audience,” of at least 5,000 enthusiastic music lovers.
The Pasadena Symphony Orchestra --
Friday evening before the concert, a special opportunity to watch the dress rehearsal provided a unique perspective about the hearts and minds of the talented vocalists, above and beyond the music. They are each gracious and humble about their individual talents, and their ability to blend their magnificent voices on the duo and trio numbers was seamless. Conductor Larry Blank knows the Great American Songbook intimately, and chose perfect songs for each singer, individually and together.
Dress Rehearsal --
There's extensive planning that goes into operations (marketing and fund-raising) behind the scenes, the logistics of symphony operations and then the music programming is an entirely separate but massive operation. Most of us don't see any of that but we're all certainly happy to show up early, park our cars conveniently, and sling portable chair bags over our shoulders, knowing we’re going to have a great time and hear beautiful songs. It's easy to overlook the hours of preparation that go into making an unforgettable evening.
Suffice it to say that if this was the first time you heard each of these ladies in concert, you'd be hard-pressed to find three more affable singers whose personalities blended as beautifully as would their harmonies the following night. What a concert performance doesn’t reveal is the generosity and genuine spirit of harmony in the exchange of ideas in rehearsal, nor does it show the brilliance of the conductor in crafting the program set list and order. Rest assured all elements are there and the conductor is the air traffic controller to create the magic of Music Under the Stars.
Preshow, Saturday, June 3, 2017, at Pasadena City Hall (TCVMedia), Conductor Larry Blank (Photo: Larry Blank Music).
Pasadena Symphony Orchestra and Chorus Affiliations --
Approximately 26 members of The Pasasdena Symphony Orchestra not only played their instruments beautifully, they brought such a magnificent uplift to all the songs. Evening formal attire adorned them perfectly as they played million-dollar notes for the singers to sing. Although each musician was outstanding, principal percussionist Theresa Dimond was brilliant as was keyboardist Alan Steinberger, and the horn section was outstanding. The skilled PSO members who were gathered for this POPS concert were well rehearsed for their performance. The sound company stayed busy in their preparations for the big show to come.
Special kudos are due to the NASA Jet Propulsion Lab (JPL) Chorus and the Donald Brinegar singers, who combined to provide the tremendous background voices on selected numbers that so greatly enhanced the performances. Mr. Brinegar directs both vocal groups and combined their ranks to create the perfect accompaniment to many key songs.
Before the Concert --
Late Saturday afternoon, the audience built exponentially as early concertgoers were treated to plenty of interesting activities. A musical petting zoo was available to inspire children to want to know more about classical music, and a series of food vendors satisfied the ever-growing crowd. It was about sunset when the program began promptly.
As the orchestra warmed up, some young 2-year-olds and 3-year-olds were spotted up front (with their parents) dancing when they heard musical snippets. At some point, you never know where the next harpsichordist, the next pianist, percussionist or virtuoso string player will emerge from the inspiration they see in the “grown-ups” at work. More than one youngster has wanted to become a conductor, by watching the masters at work.
Welcome to Music Under the Stars --
To open the evening, Lora Unger, CEO of the Pasadena Symphony Association thanked primary supporter, Bank of America, and the Los Angeles Arts Commission, through the Los Angeles Board of Supervisors, who provided funding for the evening’s free concert. In symphony circles, it’s well know that CEO Unger has skillfully steered the PSO through challenging financial times over the past decade. With the help of a truly engaged Board of Directors and a dynamic Gala coordinator, Rebecca Shukam, only great times ahead are due for the PSO. (Pictured: Lora Unger, CEO, Pasadena Symphony Orchestra and POPS)
Remarks from PSO Board Member Maryam Shah Hosseini, also of Bank of America, focused on the importance of supporting the arts and Bank of America’s history of commitment to this group.
In turn, Pasadena Vice-Mayor John J. Kennedy echoed the value of the PSO to the City of Pasadena and likened the direction of the city to a musical score as he brought greetings. He also announced funding from the Los Angeles County Arts Commission, made possible through the Los Angeles Board of Supervisors. Together they made possible a free concert for thousands, so their support is especially appreciated by the audience who benefited. If you live in a culture-rich, arts-laden community, be grateful every single day. Pasadena residents are truly lucky.
As Concertmaster Aimee Kreston was introduced, Director of Choruses, Don Brinegar, opened the program with “The Star Spangled Banner,” which featured the combined JPL Chorus and Donald Brinegar singers, with the audience following enthusiastically. The American flag blew lightly against the gentle night breeze that was forming as the evening began its natural temperature descent. Seasoned concertgoers were prepared with blankets and wraps, and the newbies made mental notes for next year but the excitement and pace of the music kept everyone warm.
A few introductions for those who were hearing these talented musicians and singers for the first time. Orchestrator and arranger Larry Blank always delivers a beautiful program for his annual “Music Under the Stars” concert for which he serves as resident conductor among other concerts in the Pasadena Symphony and POPS series.
Talented and gracious, Blank has conducted opera stars, Broadway and television favorites, and rock stars, including Jon Bon Jovi, Robert Goulet, Johnny Mathis, Beyonce, Josh Groban, Harry Connick, Jr., Antonio Banderas, Christine Baranski, Nathan Lane, Marvin Hamlisch, Lucie Arnaz, and Kelsey Grammer. Equally well known in England, on stage Blank shares delightful vignettes and back stories on the songs he’s chosen. Especially relevant is the fact that so many of the arrangements he prefers are those written by his mentors and friends, which adds lovely dimension to the music.
The Pasadena Symphony Orchestra benefits from having two outstanding conductors, Michael Feinstein and Larry Blank. Mr. Feinstein has a passion for and commitment to preserving and expanding the reach of the Great American Songbook throughout every concert he designs, one that stems from his early career experience with Ira Gershin and his lifetime fascination with the songs of “the Greatest Generation” and the one that preceded it.
Mr. Blank is renowned for programming the perfectly paced evening to delight audiences, and of course for conducting the orchestra when Mr. Feinstein in singing. As orchestrator and conductor, Mr. Blank has worked with singers who are concurrently stars of screen and stage and is entirely unflappable as he immerses himself into the music, bringing out the very best in every singer who is backed by ‘his’ orchestra. It’s truly a match made in paradise.
(L to R: Larry Blank, Kiki Ebsen, Valerie Perri, and Christina Saffran, Photos courtesy of Pasadena Symphony Orchestra)
Larry Blank--One by one, Conductor Blank introduced his vocalists for the evening—Christina Saffran, Valerie Perri, and Kiki Ebsen. Christina and Valerie are Pasadena POPS audience favorites in recent years and the 2017 concert marked Kiki’s debut with this symphony. The music, he said, “would focus primarily on George Gershwin,” with some Ella Fitzgerald classics and a few surprises to boot.
Kiki Ebsen--In her Music Under the Stars debut this evening, the stunning redhead, Kiki Ebsen, returned to her original roots of classical voice and vocal performance, from college days. The independent beauty won a national collegiate competition for original songwriting, so Kiki left opera waiting in the wings, choosing adventure as offstage keyboard player and MIDI tech for iconic band Chicago. The next 20 years, she spent internationally, on keyboards, backing and lead vocals, and songwriting. So, it’s possible you forgot that theater, jazz, the Great American Songbook, and symphonies are “home” for Kiki.
Valerie Perri--A dynamic, beautiful brunette with a smile to match the light in her eyes, Valerie Perri is equally at home on a Broadway stage or any other stage as Eva Peron in “Evita,” but she’s also been known to become Dolly Levi with panache. Equally at home on a TV soundstage, Valerie’s screen credits are impressive. Her indefatigable optimism is contagious, and she is equally introspective when focused on her music, allowing the conductor to guide the music effortlessly with her.
Christina Saffran--The lovely Christina Saffran with the long blonde tresses made her fourth “Music Under the Stars” concert appearance this evening. The Broadway star is a diverse talent who has performed in numerous national symphony orchestras as well as in her own show in Las Vegas. Plus, she’s a frequent vocal talent in Disney animation projects. Christina has a special countenance, onstage and off, which allows her to immerse herself fully in the music and bring audiences great joy as she sings delivers the music of the Great American Songbook.
The Music Begins"Fascinating Rhythm"––Valerie Perri
Opening the program was Valerie Perri, skillfully singing “Fascinating Rhythm,” by George and Ira Gershwin. Who doesn’t remember the amazing Fred and Adele Astaire in Broadway’s “Lady Be Good”? That song prepared the crowd beautifully for the evening ahead, which would be filled with great music, grand memories of the first time you’d heard the songs, and reflections on why Gershwin songs truly make up such an important part of the “Great American Songbook.”
"Where or When"––Kiki Ebsen
Rodgers and Hart (1937) created this song for the musical “Babes in Arms” and the first performance was noted as 1937 by Ray Heatherton & Mitzi Green. This song has endured for eight decades and takes on new life, with Kiki Ebsen's soulful delivery.
"Someone To Watch Over Me"––Christina Saffran
From the musical “Oh, Kay!” in 1926, with British star Gertrude Lawrence, this has been called “one of the great love songs in American musical theatre history.” Christina’s version was nothing short of magnificent, even in this abbreviated video snippet.
"A Tisket a Tasket"––Kiki Ebsen
Van Alexander, a good friend of Mr. Blank's who passed away just a few years ago, gave the world a marvelous arrangement of a song that he co-wrote with Ella Fitzgerald. Her breakout recording, when she was only 19 years old, was with the Chick Webb Orchestra in 1938, but on Saturday night, 79 years later, it returned. Kiki’s version swings with joy, as she much fun singing it as Ella did delivering it. The horn section answer, following the conductor’s lead, reminds you of the grandest days of supper clubs, black tie and great entertainment nightly.
"How Long Has This Been Going On"––Valerie Perri
In 1928, George and Ira Gershwin introduced this song, and it’s been recorded by Ella Fitzgerald, Sarah Vaughn, Julie London, Judy Garland, Lonette McKee, and Cher, among the myriad of singers who’ve offered their talents. Valerie Perri easily shows why it's one of her best songs.
"Ridin’ High"––Christina Saffran
The ebullient talent Ethel Merman brought this Cole Porter tune to life in 1936, and Ella Fitzgerald recorded it in 1956, Peggy Lee in 1959, Doris Day in 1961, and Cleo Laine in 1971. Yet, Christina should think about recording it, as she owns the stage with the orchestra and chorus undergirding her lovely powerful vocals.
"Summertime"––Kiki Ebsen
From “Porgy and Bess,” this instantly recognizable melody from George Gershwin has two credited lyricists: DuBose Heyward (the man who wrote the novel, “Porgy”) and Ira Gershwin as well. In 1960, Leontyne Price sang it, with legendary Herbert von Karajan conducting. Naturally, Ella Fitzgerald and Louis Armstrong recorded it on the Verve label. The first time I heard any non-Broadway version of this song was in 1967 when The Buckinghams (Chicago pop rock group) recorded it for their inaugural Columbia album, “Time & Charges,” in 1967. Kiki brought her own beautiful interpretation to this treasured song.
"Conductor’s Surprise"––Morton Stevens (composer)
The theme song to this TV show was written by Mort Stevens, a “prolific, Emmy-award winning film and television score composer,” and a good friend of Larry Blank. Hint: It was for a show that ran on CBS from 1968 to 1980, starring Jack Lord and James MacArthur. The show was revived by CBS in 2010 and has remained a strong part of CBS’ Friday night primetime lineup, starring Alex O’Loughlin and Scott Caan. Pretty sure you know what it is? In introducing the song to the audience, all Mr. Blank would say as a hint was in sharing a story about his friend “Mort,” and asked the audience if they could guess the name of the song the orchestra was about to play, noting, “As Mort’s BMW license plate read, “EEGBAE.”
Mr. Blank was delighted that most of the audience was stumped as the percussion and trumpets moved right into the powerful rhythm of the opening of Morton Stevens’ fantastic song, ultimately recorded by The Ventures. Ready? Set? Book ‘em, Danno! By the way, Mr. Stevens also composed themes for other police procedurals including “Matt Helm,” and “Police Woman,” as well as being music arranger for 12 episodes of “The Man from U.N.C.L.E.” Mr. Stevens knew exactly what made great law enforcement themes!
"But Not For Me"––Christina Saffran
George and Ira Gershwin introduced this gem in 1930 in “Girl Crazy” and it was performed by Ginger Rogers in the musical. The beloved tune has been recorded by Judy Garland and Frank Sinatra but it was also a favorite of Ella Fitzgerald’s, as she won a Grammy for this song in 1960 for Best Female Vocal Performance on her “Ella Fitzgerald Sings the George and Ira Gershwin Songbook” album. Actually, Ella won 14 Grammy Awards, including “one for Lifetime Achievement” in 1967, in large part due to her interpretation of Gershwin songs among others she made her own.
"Let’s Call the Whole Thing Off"––Valerie Perri and Kiki Ebsen
First known as a song strongly identified with Fred Astaire and Ginger Rogers (on roller skates) in the 1937 movie, “Shall We Dance,” this George and Ira Gershwin song was another favorite among Ella Fitzgerald recordings, as she lent her own inimitable style to create her own hit song. Valerie and Kiki have much fun with this tune and agree to “call the calling-off off”—there’s something special about the beauty of musical treasures--they're simply timeless.
"Somewhere over The Rainbow"––Kiki Ebsen
Kiki Ebsen’s magnificent rendition of the Harold Arlen classic from “The Wizard Oz” (1939). It’s been a favorite for 78 years, but most relevant is that it was chosen by the RIAA (Recording Industry Association of America) as the “#1 Song of the 20th Century and by the American Film Institute (AFI) as “the Greatest Movie Song Ever.” Beyond this accolade, it’s a poignant song for Kiki and holds very special meaning.
"The Man I Love"––Christina Saffran
This song has a fun history thanks to Ira Gershwin’s “Lyrics on Several Occasions,” which noted that the song ‘almost’ made it into several shows it was planned for. The original version, “The Girl I Love,” has been recorded by Michael Feinstein, and the best-known ‘next’ version, “The Man I Love,” (from web site, www.greatamericansongbook.net):
“…the refrain of "The Man I Love" began as the introduction or verse to another, never completed song, a song that he can't even recall, a song written, according to George's notebooks, between April 4, and April 24, 1924. The music for this verse had, as the brothers both recognized, such an "insistent" quality about it that they agreed it should be used for something more than just an introduction. In other words, it was too good to be just a verse, so it was converted into a refrain, the main portion, for a completely new song that turned out to be "The Man I Love." (That this happened was proved when Michael Feinstein, working as an archivist for Ira Gershwin in 1982, found George's manuscripts for the song in a storage facility in Secaucus, NJ.)”
Not only did Ella Fitzgerald, Sophie Tucker, Billie Holiday, and Sarah Vaughn record this song, in 1999 Herbie Hancock and Joni Mitchell also recorded it! Christina’s version is show-stopping of its own accord.
"Time Heals Everything"––Valerie Perri
This is a Jerry Herman song from the musical “Mack and Mabel,” that Valerie has sung before and it’s clear why it’s “her song,” as her delivery and interpretation are powerful and convincing. Not only has Michael Feinstein recorded the song, Bernadette Peters, Liza Minnelli, and the iconic Eydie Gorme (whose version was previously my favorite, until hearing Ms. Perri sing it) have made it their own. That’s one of the exciting things about Broadway musicals; each performer brings their own style to create an entirely new song.
"Boy What Love Has Done To Me"––Christina Saffran, Valerie Perri, and Kiki Ebsen
This George and Ira Gershwin song has resonated throughout the decades as the different combinations of hearts and minds seek and find one another to come together as a couple, no matter how unlikely the pairings. The trio was charming in their trading verses and blending on the chorus. These dynamic singers can deliver upbeat fun verses with equal panache. Although it was the final song, clearly no one wanted to go home, so Mr. Blank and the orchestra delivered the perfect encore song to cap off the evening’s selections.
"I Got Rhythm–-Encore"––Christina Saffran, Valerie Perri, and Kiki Ebsen
The finale to this resplendent program was this final George and Ira Gershwin song, from “Girl Crazy,” launched in 1930. “When George Gershwin conducted the music at the premiere…the orchestra, the Red Nichols Band, among others included Benny Goodman, Glenn Miller, Jack Teagarden, Jimmy Dorsey, and Gene Krupa.” The Pasadena Symphony POPS did the masters proud under Larry Blank’s baton. That’s the true measure of music excellence when a song can endure for decades and be a solid rock hit as well (remember the group The Happenings (1967) recording? It sold over 1,000,000 copies, and is still one of their most popular songs in concert today as they continue to tour. Check out this evening's rendition and hear how the chorus brought added charm to the performances. Especially in the rhythm section did the orchestra shine brightly. The three vocalists clearly enjoyed this song as they combined their exceptional voices on the final notes, bringing the crowd to another standing ovation as another great Music Under the Stars program was "one for the books."
(L to R: Valerie Perri, Larry Blank, Kiki Ebsen, and Christina Saffran, photo from on Kiki Ebsen's Facebook page.)
More Music from These Artists
If this was your first introduction to these beautiful, talented singers, you can hear more from them. Check out Christina Saffran’s “Temporary Insanity” on Amazon, and enjoy “Someone to Watch Over Me,” “Baby It’s Cold Outside,” and the title track, among many others. Valerie’s CD, “Sweet Conversation” is available on iTunes and includes “Don’t Rain on My Parade,” “Don’t Cry for Me Argentina,” and “Almost Like Being in Love,” among some of her signature songs. Another personal favorite is her version of “Secret o’ Life.” Kiki’s CDs, including her most recent release “Scarecrow Sessions,” are all available on her web site. On “Scarecrow Sessions her version of “Somewhere Over the Rainbow” is magnificent, as is her take on Cole Porter’s “Easy to Love.” Larry Blank’s recordings can be found here, and his conducting calendar can be found here.
Special Thanks Are Due
The outstanding pre-concert publicity (thank you to the tremendous marketing and PR by General Manager, Drew Flaherty and Marisa McCarthy, Director of Marketing & Public Relations) was responsible for the record crowd, as far as the eyes could see. They proved a fantastic audience, attentive during the music and expressive only in their rousing applause for the selections during the evening. That is not always the case when thousands are gathered as I’ve experienced, more times than I care to recount, at the Cynthia Woods Mitchell Pavilion in The Woodlands, Texas.
The Los Angeles Times and other area publications were filled with beautiful reminders, from the very earliest times, so people had this date circled on their calendar for over a month. No maximum capacity crowd generates on its own accord—it’s dedicated professionals working behind the scenes to make the magic happen.
Coming Up Next — Tickets & Gifts of Love
The Pasadena Symphony and the Pasadena POPS are the inaugural part of the full POPS subscription season, with concerts taking place typically at the L.A. County Arboretum. This summer, music lovers can expect nothing but great music all summer long. The 2017 Sierra Summer Concert Series runs from June 17 – September 9, starting with “Broadway: The Golden Age” with honoree Liza Minnelli and soloist Storm Large, conducted by Michael Feinstein, Principal Pops Conductor and holder of the Tom and Erika Girardi Chair. “Live at the Arboretum” with Leann Rimes on July 8 The Midtown Men (Music from Jersey Boys and Beyond) July 15, conducted by Larry Blank, and Michael Feinstein Sings & Swings” on July 29th, conducted by Larry Blank.
If you’re anywhere near Pasadena, California this summer and year-round, get your tickets early. Visit http://pasadenasymphony-pops.org/ for information, and please consider a donation to their Annual Fund in honor or memory of someone you love, because there’s nothing quite like the gift of music, particularly for the person who has everything.
In all, it was a very special evening for the audience from the vocalists, the choralists, the Pasadena Symphony POPS Orchestra, conductor Larry Blank, the City of Pasadena, the Bank of America and the Los Angeles County Arts Commission through the L.A. Board of Supervisors.
