If there was ever a question that some people are born with innate musical talent, Ida McBeth can unequivocally deliver the proof.

While many blues or jazz performers only take the stage long after they've spent time as watchful, moldable audience members themselves, McBeth was already honing her vocal skills at the age of 8. It's not shocking to see a child in a church choral group, but when that youngster is designated to the adult choir rather than one for her own age group, it's difficult to not take notice. One could easily write off this proclivity toward performing as a result of good parenting and a healthy diet of Mahalia Jackson records, but McBeth wasn't just excelling among those 10 and under. She was standing out among her 50-year-old seasoned peers.

"I always had a mature, very deep voice when I was a child," McBeth explained. "I was the only child in the adult choir singing adult gospel songs."

 With an uncanny ability to deliver a heartfelt, deep gospel song, McBeth eventually was assigned more solos than any of the adults within the choir. It was a situation that didn't always sit well with her classmates - and more than a few of the "mature" church members weren't thrilled, either.

"A lot of times I could hardly pronounce some of the words in the songs," McBeth said. "Some of these solos were initially given to the adults in the choir. I had several grown-ups that were a little upset with me that I was taking over some of their solos! It's amazing how even an adult can be jealous of a child."

When McBeth was introduced to the world of R&B and Soul during her teenage years, things got slightly more complicated. Bill Withers and Aretha Franklin were among the artists shaping her latest musical course, a newfound path that wasn't immediately embraced by McBeth's mother. In her eyes, gospel should never take second place to R&B. With that unpopular proclamation, a slight rebellion began in the form of sneaking into clubs. Of course, unlike other obstinate 16-year-olds, McBeth was on a mission. That tenacity paid off with her first professional gig at Kansas City's Playboy Club.

"They thought I was 21 years old," McBeth said. "My mother thought that I was working at Montgomery Ward!"

McBeth's performance skills were in high enough demand that venues like the Playboy Club were willing to dole out handsome paychecks. For McBeth's mother, who was working as a cook and earning a fraction of her daughter's wages, the idea of a singing career quickly became not such a scary notion after all.

"Money has a tendency to change your mind, especially when a single mother is raising five kids by herself," McBeth said. "She finally gave in and started to help me as far as finding clothes that would be appropriate."

In 1972 McBeth received her first big break, a job in Los Angeles as a backup singer for Blood, Sweat & Tears. That prized gig opened up the door to other opportunities, including a job singing for Mattel commercials.

When McBeth became a wife and mother a few years later, she opted to return to Kansas City. She continued to perform, but the number of gigs that required long-distance travel were cut down considerably after the death of her mother, a divorce, and the birth of an autistic child.

The mid-1980's spawned a Kansas City Renaissance of sorts for McBeth, who reached a new level of productivity as a performer. There was a mutual admiration between city and singer that hasn't subsided since that time. You only need to look at a list of the numerous accolades and awards that McBeth has received to get the full gist. Among the honors were the titles of "Best Female Jazz Vocalist" and "Entertainer of the Year" by the Jazz Hall of Fame in 1984, and in 1990 she earned a spot as one of Ingram Magazine's "People of the Year."

Today McBeth has made Jardine's and The Blue Room her homes away from home, usually performing about twice per month at the respective venues. When asked to compare the KC music scene with the nonstop action of the City of Angels, McBeth delivered an eye-opening response. While she had been accustomed to performing everything from gospel to blues to jazz over the years, the singers who frequented Los Angeles' clubs were focused primarily on Top 40 material.

"I was able to find a little more work because I was a little more versatile," McBeth explained. "Kansas City is rich with this music. So you have to really, really know what you're doing to be welcomed and have a light shine upon you. You have to work a whole lot harder."

That work has been chronicled on a series of solo albums throughout the last few decades and the vocalist plans on releasing a CD titled The Best of Ida McBeth in the coming months. The album will feature material spanning from her days as 19-year-old, up-and-comer up to the most contemporary recordings.

While McBeth never shies away from taking on the popular music genre ("I Can't Make You Love Me") or gospel ("Prayer"), you'll always find a good helping of blues and jazz within her performances. When asked whether she believed here was still a dedicated audience in Kansas City for the historical genres, McBeth didn't hesitate with a response.

"Oh, yes. I'm grateful for that," McBeth said. "Otherwise I wouldn't be working!"

For more information visit http://www.idamcbeth.com/

Upcoming Gigs:

November 6, 8:30- 12:30 am
The Blue Room
1616 E 18th St; Kansas City, MO

November 14, 6:00 - 10:00 pm
Jardine's
4536 Main St; Kansas City, MO

November 27, 8:30 - 12:30 pm
The Blue Room
1616 E 18th St; Kansas City, MO

November 28,  6:00 - 10:00 pm
Jardine's
4536 Main St; Kansas City, MO

By Amy Kelly

theSTEADY Contributor (Past writer)

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