Friday, August 28, 2015

Mass appeal: Chapter 5

We’re approaching the final countdown on the second of this summer’s double-scoop celebration of Guaraldi’s Jazz Mass, with the second 50th anniversary event taking place Sunday morning, September 6, at the First Presbyterian Church of Clarks Summit, Pennsylvania. The jazz elements will be handled by Rev. Bill Carter and his Presbybop combo; during the past several months, Bill quite generously has shared the lengthy listening/transcription process that has been necessary, to replicate the original experience as closely as possible.

In case you’ve missed previous installments, you’ll find them here, here, here and here.

Meanwhile, I’ll once again turn this blog over to Bill, for his final analysis of How Vince Did It ... and how his mass’ rich legacy even extended to other projects!


Reflections on transcribing the Guaraldi Mass: The Instrumental Music

I had a revelation when I heard the Guaraldi Mass tunes in a different sequence. While preparing a reference CD for my quartet, I put “Sanctus” and “Agnus Dei” adjacent to one another, just as they’d be sequenced in an actual mass. I shouldn’t have been surprised to discover that they’re in the same key, with the same tempo and rhythmic feel. They belong together.

Similarly, “In Remembrance of Me” and “Holy Communion Blues” begin in nearly identical fashion. A repeated C in the melody is accompanied by a descending line in the left hand, before each tune develops in a different manner.

Both tunes were part of a long interlude, as the mass participants received the sacrament of communion. Rev. Chuck Gompertz recalls it took 30 minutes for everyone to be served, so Vince did what scores of church musicians have always done: He filled the time. And why not? If you’ve invited a jazz trio into your cathedral to lead a worship service, it’s best to let them play.

Only about half of that music is included on Fantasy’s recording of the event. Chuck spent a lot of time with the recording engineers, carving up identifiable segments into “tunes,” and even providing titles on Vince’s behalf. Sadly, the rest of that music has been lost to us.

Tuesday, August 18, 2015

An afternoon of Grace

“Mother never said there might be a day like this.”

First words out of my mouth. Couldn’t help it.

I had just been introduced — and quite warmly — by Grace Cathedral’s Rev. Canon Elizabeth Grundy, and all I could do was look out across the assembled multitude (officially 611 patrons!), and then up-up-up at the way-high ceiling, almost out of view.

Apparently everybody understood, though, because my awe-struck remark drew plenty of sympathetic chuckles.

But I’m getting ahead of things. Let’s start at the beginning.

Constant Companion and I arrived at Grace at about 10:30 Saturday morning; we had left home quite early, not wanting to take any chances with the San Francisco area’s notorious traffic (which, yes, can be ghastly even on weekends). As a result, we were first to arrive, and so killed some time by browsing through the cathedral’s gift shop. I couldn’t help noticing a counter-top rack of CDs that included several copies of Duke Ellington’s Concert of Sacred Music at Grace, recorded live September 16, 1965 ... but no sign of Fantasy’s recording of Guaraldi’s Mass, which had preceded Ellington by four months.

So I wanna know: What’s up with that?


We soon were joined by Marcia and Nancy Goodrich, two of the long-ago St. Paul’s Church choir members who, as children, had rehearsed with Guaraldi for roughly 18 months, while his Jazz Mass came together. They were excited, to say the least: positively bubbling with anticipation.

Saturday, August 8, 2015

Mass appeal: Chapter 4

We’re one week away from the first of two Guaraldi Jazz Mass celebrations, with pianist Jim Martinez busily rehearsing with the Fair Oaks Presbyterian Church Choir each week. Last-minute preparations are being handled, from significant matters of musical fine-tuning, to the completely mundane (as in, have you ever tried to find a place to park in San Francisco?).

Somehow, though, all the details and hiccups will be worked out, likely at the last possible second: one of the great enigmas of the performance world. To quote Geoffrey Rush’s marvelous summation, delivered so well in Shakespeare in Love: “Allow me to explain about the theater business. The natural condition is one of insurmountable obstacles on the road to imminent disaster. Strangely enough, it all turns out well ... [but] I don’t know how. It’s a mystery.”

Meanwhile, at the other end of the country, the Rev. Bill Carter and his colleagues at the First Presbyterian Church of Clarks Summit, Pennsylvania, are preparing for their similar tribute to Guaraldi, with an authentic church service setting of the Mass, to take place starting at 9:30 a.m. Sunday, September 6. Bill has labored intently for the past several months, working up Guaraldi’s jazz-inflected portions of the service by transcribing the few existing snippets of recordings. (Remember, Vince never wrote any of this music down.)

Bill has scored his transcriptions for jazz quartet (he’ll be on piano), two cantors (who will handle the trickier chants) and a small subset of his church’s choir.

He has generously shared details of his efforts in several earlier installments of this blog, and I’ll let him continue in that vein. Take it away, Bill!

Friday, July 31, 2015

And the Hits just keep on coming!

As Guaraldi fans know, this is a big year for Dr. Funk — being the 50th anniversary of both his Grace Cathedral Jazz Mass, and the television debut of his Peanuts themes in A Charlie Brown Christmas — and Fantasy Records isn’t missing the opportunity to acknowledge these milestones.

The first treat arrives today, with the CD release of Peanuts Greatest Hits, a fresh assortment of Guaraldi’s most iconic themes for Charlie Brown, Snoopy and the rest of the gang. (A brand-new vinyl version will follow in September.) You’ll find the usual suspects, most notably “Linus and Lucy” (of course!), “Charlie Brown Theme,” “Oh, Good Grief” and his three compositions from A Charlie Brown Christmas. But the collection also includes a track that is relatively new to Fantasy: Guaraldi’s vocal rendition of the droll “Little Birdie,” previously available only on Peanuts Portraits.

Fantasy once again was gracious enough to let me write some new liner notes, and I wove that essay around a tantalizing “what if” that might have taken place in an alternate universe. In our real world, the first Guaraldi Peanuts tune most of us heard was “Christmas Time Is Here,” which plays over the opening scene in A Charlie Brown Christmas. But what if director/producer Lee Mendelson had been able to sell his earlier documentary, A Boy Named Charlie Brown, to a television network? How would that have affected the sequence in which we initially heard the 12 tracks on this new collection?

(Hey, I needed a fresh “hook” with which to approach these liner notes, and that seemed as good as any!)

Fantasy has additional plans between now and the end of the year. The 1998 CD release, Charlie Brown’s Holiday Hits, will be re-issued on vinyl. Much more ambitiously, 2009’s double-CD set, The Definitive Vince Guaraldi, will be re-released as a 4-LP, 180-gram vinyl box set: a lovely package that will include a poster of Schroeder and Guaraldi, enhanced liner notes with lots of 1960s-era Guaraldi photos and ephemera from my personal collection. Finally, perennial favorite A Charlie Brown Christmas will celebrate its golden anniversary in multiple formats (final details not yet set; stay tuned).

Those of us who still prefer the “warmth” of vinyl clearly have ample reason to celebrate.

But wait, there’s more!

Fantasy and the Concord Music Group have generously agreed to offer a few free CD copies of Peanuts Greatest Hits to my faithful blog followers. Merely handing them out would be too easy, so I’ve decided to turn it into a contest. Discs will be sent to the first five people who correctly answer this question:

Name two non-Peanuts Guaraldi compositions that he recorded on more than one Fantasy (vinyl) LP, back in the day (prior to 1970). Do not include 1964’s Jazz Impressions in your search, as its entire contents are drawn from earlier albums. And remember: Fantasy only. Don’t send me titles that popped up on Warner Bros., Crown or any other label.

Send your answers to the e-mail address at right ("Email Derrick"). Please do not send them as comments, because I'll simply delete them. (Besides which, I'll need your e-mail address.)

Good luck!


August 1 Addendum:

The contest is over, and many thanks to all of you who participated. Frankly, I'm quite surprised; I wasn't aware my readership was this large, or this gracious. Many of you wrote very nice comments about this blog, and my book, which I greatly appreciate. Makes all the supplementary research efforts even more rewarding.

That said, the correct answers are:

"Ginza," also known as "Ginza Samba," appears on three albums: Modern Music from San Francisco, Cal Tjader/Stan Getz Sextet and From All Sides.

"Star Song" appears on Vince Guaraldi, Bola Sete & Friends and The Latin Side of Vince Guaraldi.

And our five winners are:

Brad Adams
Damon Carmona
Dylan DeFeo
Scott McGuire
Michael Shirey

CDs will be on their way to you soon!

Monday, July 27, 2015

Mass appeal: Chapter 3

The rehearsal began promptly at 10:45 a.m.; choir director John McDaniel runs a very tight ship.

I spent an engaging 90 minutes Sunday morning at the Fair Oaks (California) Presbyterian Church, watching and listening as McDaniel and his singers worked through numerous selections on the program of the upcoming Guaraldi Jazz Mass Tribute Concert, taking place at 2 p.m. Saturday, August 15, at San Francisco’s Grace Cathedral. The weekly rehearsals began July 5, and they’ll continue each Sunday morning through August 9, with a final dress rehearsal Thursday evening, August 13.

John McDaniel, standing on the riser, leads the Fair Oaks Presbyterian Church Choir in a
Guaraldi-inflected version of "Adore Devote (Humbly I Adore Thee)," while Jim Martinez
adds a swinging touch at the piano.
McDaniel’s all-adult choir is roughly 70 members strong, and their well-trained voices filled the large, classroom-style music room with a joyous sound. In a word, the group is terrific. After running through a couple of the jazzed-up hymns that Guaraldi arranged for his Mass, McDaniel surprised me — I was sitting quietly in the back of the room — by asking what I thought.

“Actually, it’s rather spooky,” I said, and his gaze adopted a puzzled expression, until I elaborated. “If I close my eyes, it’s like listening to the original LP recording. You all sound awesome.”

McDaniel smiled, clearly pleased. Gentle but undeniably happy laughter rippled through the crowd.

As the August 15 event is a concert, as opposed to a formal church service, McDaniel and pianist Jim Martinez are supplementing Guaraldi’s Jazz Mass elements with additional choral pieces. Thus, the Fair Oaks Presbyterian singers have been learning not only the Mass’ vocal selections — “Kyrie Eleison,” “Come with Us, O Blessed Jesus,” “Nicene Creed (I Believe),” “Adore Devote (Humbly I Adore Thee)” and the lovely background chant and “Hallelujahs” behind the primarily instrumental “Theme to Grace” — but also five other hymns: “Come to the Music,” “Praise God,” “Total Praise,” “When I Survey the Wondrous Cross” and “Worthy to Be Praised.”

Martinez and his band, meanwhile, have been working up the Mass’ instrumental compositions: “In Remembrance of Me,” “The Holy Communion Blues” and the aforementioned “Theme to Grace.” Given Jim’s fondness for Guaraldi’s music, I’m sure he’ll also include a few other familiar tunes.

Monday, June 29, 2015

Homage to Vince

A new Guaraldi-hued album becomes available today, and you’ll definitely want it in your library.

Full disclosure demands that I acknowledge Northern California jazz pianist Jim Martinez as a friend; I wrote the liner notes for this album, and one of the tracks is dedicated to my own self. (It won’t be hard to figure out which one.) So yes, I admit to bias ... but that doesn’t make what follows any less valid.

Guaraldi has been gone for almost 40 years, but his signature themes are more popular than ever; all manner of jazz musicians have covered the “big three” — “Cast Your Fate to the Wind,” “Linus and Lucy” and “Christmas Time Is Here” — with more renditions popping up every year.

Martinez includes the first two on this album, which honors Guaraldi’s decisive musical influence on the neighborhood inhabited by Charlie Brown and the rest of Charles M. Schulz’s beloved Peanuts gang. But this isn’t a garden-variety collection of Guaraldi covers; eight of these 14 tracks are sparkling Martinez originals, all written and performed in Guaraldi’s larkish, Latinesque “Peanuts style.”

Martinez has Guaraldi’s facility for cute, clever melodic hooks that immediately sound familiar, even when heard for the first time. Better still, they’re catchy and instantly hummable, with the cheerful ebullience that always characterized Guaraldi’s performance style. You can’t help nodding in time to Martinez’s effervescent keyboard work; you also can’t help smiling.

He’s a generous leader, granting plenty of exposure to core band mates Josh Workman (guitar), Marcus Shelby (bass), and Tim Metz and Tony Savage, trading off on drums. Indeed, numerous tracks — such as Martinez’s “Chillin’ at the Warm Puppy Café” — feature engaging “duels” between Martinez and Workman, alternating vigorous solos and comping behind each other. (The title references the aptly named coffee shop adjacent to the Charles M. Schulz Museum in Santa Rosa, California.)

Workman’s deft guitar work also highlights the gentle, Brazilian-hued “Samba for Snoopy,” and the flamenco elements of the impish “Spike and the Cactus Club,” with its shifting time signatures; one imagines Snoopy’s rail-thin brother dancing with a rose between his teeth.

Shelby’s accomplished bass work powers the percussive “Bang!,” which Martinez fills with Guaraldi-esque flourishes; Shelby’s walking bass also drives the sassy “Blues for Beagles,” which gets additional snap from Lucas Bere’s smoldering tenor sax.

The lyrical “Waltz for Vince” feels very much like the style and delivery of Guaraldi’s early Fantasy albums, while “Schroeder Can Play” is a spirited finger-snapper granted plenty of swing by both Martinez and Shelby.

The band’s cover of “Cast Your Fate to the Wind” is slightly faster than Guaraldi’s version, with Martinez roaring through the lengthy improv bridge. “Linus and Lucy” also is up-tempo, with Metz’s propulsive drum work setting the stage for an initially faithful (but not slavish) adaptation that breaks away when Martinez takes the second bridge into entirely new directions. Guaraldi’s lively “Surfin’ Snoopy” is treated like a classic combo swinger, with Savage and Shelby setting the stage for vigorous solos by Bere, Workman and finally Martinez.

Martinez is equally adept at softer tempos, as with his worshipful handling of Guaraldi’s “Theme to Grace,” an interior theme from the Jazz Mass Guaraldi wrote for San Francisco’s Grace Cathedral in the mid-1960s. Workman and Martinez trade quiet, reverential solos in a manner evoking the latter’s numerous “Jazz Praise” albums. Similarly, Martinez’s “Thank You Sparky” is a hushed, heartfelt lament, with his keyboard backed solely by violin.

The album includes one vocal: a tender cover of Rod McKuen’s poignant title song to the 1969 film A Boy Named Charlie Brown, with Margie Rebekah Ruiz’s expressively soulful voice accompanied by Bere’s equally sweet sax solo and a string quartet.

The album is highlighted both by everybody’s tight solo and ensemble work, and by Martinez’s overall impish tone. Most of his original compositions are droll to begin with, and he enhances that exuberance with occasional quotes from sources as varied as Gershwin, “Rudolph, the Red-Nosed Reindeer” and Guaraldi himself.

This album’s dexterous musicality certainly is a selling point, but — most of all — it’s fun. As with Guaraldi’s many albums, you can’t help wanting to play this one again ... and again and again.

So, what are you waiting for?

Wednesday, June 24, 2015

Fantasy (almost?) on the block ... the first time

Google Books’ massive wealth of material includes the complete archives of Billboard magazine, free for anybody to peruse. It’s easy to spend several hours (days?) tripping down musical memory lane, and of course these archives also are an invaluable resource; I used them extensively while researching information for my Guaraldi bio.

Until just the other day, though, I hadn’t considered investigating a search on Fantasy Records. Most of the results were too tangential for my purposes, but I did learn a few helpful details. The first was a squib from March 12, 1955, headlined Zaentz Heads Fantasy Sales. In entirety, the little piece informed readers that “Saul Zaentz has been named national sales manager for Fantasy Records. He formerly held sales and promotion posts with Clef and Norgran. Zaentz’s Fantasy duties will also include deejay relations.”

A little more than a month later, on April 23, that week’s Jazz Best Sellers — a listing always subdivided by label — gave Fantasy’s street address: 654 Natoma Street, in San Francisco. Although I already knew that Fantasy was on Natoma Street in the mid-1950s, I’d never had the actual number. (Yes, I do obsess over such details.)

The most interesting tidbit, however, unfolded during slightly more than four months, starting on New Year’s Eve in 1966 ... when Fantasy Records supposedly was purchased by a rival label (!).

Now, it’s well known that Max and Soul (Sol) Weiss sold Fantasy on September 1, 1967, to a consortium of distributors headed by Zaentz. But I had no idea that an entirely different offer had been floated nine months earlier.

On top of which, this earlier potential deal apparently blew up quite spectacularly.

It started when Billboard reported, on December 31, 1966, that — according to “reliable sources” — Audio Fidelity Records had bought Fantasy. “Contracts have been signed,” the article went on, “and Audio Fidelity is expected to take title in a few days. The label will be moved to New York, and Orrin Keppnews, former Riverside Records executive recently hired by AF, is expected to be Fantasy a&r vice president. The move is AF’s second major acquisition since Herman Gimbel took over the reins of the company. The first was the expansion into the country field with Little Darlin’ Records.”

As Mr. Spock had just begun to say, every Thursday evening that TV season, Fascinating...

At that point in time, Audio Fidelity’s major claim to fame was having released the United States’ first mass-produced stereophonic long-playing record, in November 1957. Under original owner Sidney Frey, the label signed a respectable collection of jazz musicians, including Lionel Hampton, Louis Armstrong, Elmo Hope and Lalo Schifrin. In 1962, Frey became one of the first U.S. record company owners to aggressively pursue bossa nova and Brazilian jazz, releasing LPs by João Gilberto, Luiz Bonfá, Oscar Castro-Neves and several others.

Frey sold the company in 1965 to Gimbel, who expanded inventory and artists; even so, he never became a major player during the rapidly expanding rock era. Ironically, most of the Audio Fidelity LPs found in home libraries in the 1970s weren’t music at all; the label did quite well by its extremely popular line of sound-effects albums. Audio Fidelity was folded into Milestone Records in 1985, and eventually went bankrupt in 1997.

But back to our story...

Despite the apparent haste with which Audio Fidelity’s deal with Fantasy was expected to take place, nothing happened for several months. Then, on March 25, 1967, Billboard unveiled fresh information beneath the headline A Disagreement Stops Buying of Fantasy by AF.

“The acquisition has failed to materialize,” the article began. “Herman Gimbel, AF president, had flown to San Francisco last week to close the deal. Gimbel returned without the acquisition, charging that Fantasy failed to deliver assets provided for in the agreement. These assets, according to Gimbel, include ‘full use of a quantity of masters — including all of the Dave Brubeck material, which is unquestionably the heart of the Fantasy catalog.’ Gimbel added that record club and tape cartridge deals had been negotiated for the expected new Fantasy operation.”

The next step was inevitable: Gimbel sued.

On May 13, 1967, Billboard broke this news under the headline AF Charges Fantasy Welched on Contract. “Audio Fidelity has sought recourse through the courts,” the article began. “The deal allegedly was set by both parties, when, according to AF President Herman Gimbel, Fantasy backed out.

“According to the complaint, the defendants entered into a written contract with Gimbel for the sale of their music and sound recording business. Sale price was allegedly $235,000, with another $200,000 for royalties to be paid over a five-year period. Gimbel said he made a $5,000 down payment last November.

“Gimbel charges that on March 9 he met with the defendants in San Francisco, to sign the final contract, but that the defendants refused to deliver the business and assets.”

The rest of the article specifies various sidebar details, including advance orders that Gimbel already had taken for the expected Fantasy library, which “would have yielded him a net profit of at least $70,000” (and which sounds rather like counting one’s chickens before they’ve hatched).

“Gimbel seeks an accounting of the Fantasy operation for 1967,” the article concludes, “along with court costs, and, if the court rules that the contract cannot be performed, damages of $95,974.32 and such additional damages as may be established by the evidence.”

I’d love to know how they came up with that 32 cents...

All kidding aside, I was struck by what seems to have been Fantasy’s rather modest value. Just a quarter-million for the whole shebang, plus not quite that much in royalties? Seriously? I know everything cost less back in 1967, but that still seems low.

Maybe it was, and maybe that’s why Soul and Max backed out. Alas, we’ll never know. That was the last Billboard reported of the matter, which suggests things were settled out of court.

Zaentz and his fellow investors were more successful a few months later, paying $325,000 for the label and all its assets ... which, on the surface, seems a worse deal than Soul and Max were offered by Audio Fidelity. As history quickly demonstrated, Zaentz made one helluva deal. Thanks to the incredible popularity of Creedence Clearwater Revival, he was able to pay off the five-year note in 18 months. As quoted in Billboard on May 3, 1969, Zaentz now insisted that he “wouldn’t take $6 million for Fantasy.”

Zaentz’s subsequent adventures with Creedence and John Fogerty, of course, became an entirely different story, and the stuff of both rock and precedent-establishing courtroom legend. If you’re curious, check it out here.

In hindsight, it’s interesting to note that the Audio Fidelity imbroglio was taking place at the same time that Guaraldi had filed his own lawsuit against Fantasy, seeking release from his oppressive contract. That suit wasn’t resolved until December 27, 1967, shortly after Zaentz took over the label. (I remain convinced that Zaentz, far smarter about such things than the Weiss brothers, recognized and quickly dealt with what almost certainly would have been an embarrassing courtroom loss for Fantasy).

As journalist Linda Ellerbee is so fond of saying, And so it goes...

Saturday, June 6, 2015

Mass appeal: Chapter 2

Continuing our updates regarding the approaching 50th anniversary Guaraldi Jazz Mass celebrations...

As mentioned in an earlier post, Pastor Bill Carter and his Presbybop band are mounting a re-creation of the entire Mass on September 6, accompanied by his First Presbyterian Church Choir in Clarks Summit, Pennsylvania.

At the same time, and perhaps not entirely by coincidence — the network of “jazz worship” musicians likely being fairly intimate — Northern California pianist Jim Martinez and his combo are readying a concert-style tribute to Guaraldi’s Jazz Mass on August 15, at no less than Grace Cathedral itself. Jim and his band will be joined by the Fair Oaks Presbyterian Church Choir, along with a few members of the original St. Paul’s Episcopal Church choir who — as children — sang with Guaraldi’s band back in 1965.

The special guest list involved with this San Francisco event has expanded to include Charles Gompertz. As a young reverend, back in the day, he “hired” Guaraldi to compose and perform the Grace Cathedral Mass, and was on hand throughout the ambitious project’s 18-month gestation. He and Guaraldi became close friends, and Rev. Gompertz will share his memories of that long-ago event, during a pre-concert introduction.

Additionally, Bill Carter will fly westward, also to be part of the August 15 event at Grace Cathedral. Jim tells me that he’ll turn the keyboard over to Bill for at least a couple of tunes, although that detail hasn’t yet been firmed up. Meanwhile, Jim just set up an ambitious rehearsal schedule for the Fair Oaks Presbyterian Church Choir, with (so far) six sessions taking place weekly throughout July and early August, followed by a dress rehearsal on August 13.

As befits amiable colleagues, Bill and Jim agreed to divide the necessary transcription chores, and both have been quite busy with that sizable task. Bill very kindly sent along a detailed description of how that is proceeding, so I’ll turn the rest of this post over to him:

Transcribing the Guaraldi Mass is trickier than one might think. According to all accounts, Vince never played the music the same way twice, which is confirmed by the few existing recordings of the Mass. So I’ve worked toward a consensus, to ascertain “the mind of Vince,” knowing in advance that I probably will adapt the music in the moment of performance, just like any other jazz musician.

The three hymns are taken directly from the Episcopalian Church’s 1940 red hymnal. Only the melody is printed in that text, which grants great freedom to the jazz combo. While the melodies are sung rather strictly in unison, the instrumentalists offer a new harmonic setting for each hymn. In this way, the traditional melodies are blended with the jazz, and the congregation participates in the music-making.

Vince added a melodic commentary over each hymn, offering a flurry of notes in the piano’s upper register. His experience of backing up vocalists is obvious, and adds both energy and interest.

The opening hymn, "Come with Us, O Blessed Jesus," is based on the chorale of Bach’s “Jesu, Joy of Man’s Desiring.” Only the first verse of John Henry Hopkins’ lyric is included in the hymnal, so everybody sings it. Back in the day, Vince improvised with his trio on the 32-bar form, and the congregation sang a reprise.

This may have been a first in recorded jazz history: a recording of a congregation sharing a tune with a jazz musician. Thelonious Monk did record “Abide with Me” and “Blessed Assurance,” but no congregation was in his studio! In the larger context of Christian hymnody, Vince is part of a venerable tradition. Good organists often have played interludes between hymn verses, sometimes improvising as they go ... although, alas, improvisation has largely become a lost art in the church.

Before the trio begins, the organist introduces the first hymn by playing it straight, right out of the hymnal. I chuckled at this, having survived a number of classically trained organists who were (to put it mildly) uncertain about the inclusion of jazz in the liturgy. When the trio enters with the choir, we immediately hear more energy and delight.

Vince takes the melody, written in the key of F major, and undergirds it with a G minor tonality. The opening note (A) is the ninth of the G minor chord, which is so Guaraldi! He loved the ninth of the chord as a melody note (which is the final melody note on “Christmas Time is Here”). He keeps the harmony static: a G minor for six measures, adjusting the major 7th, the 7th and the 6th, to keep it moving. Measures 17-24 are on a C pedal tone (a single bass note). The whole piece is approached as an A-A-B-A jazz tune.

“Come, Holy Ghost,” the second hymn, sounds like a processional, with its steady beat and repeating eight-measure melody. Vince again translates the major key melody — this time in C major — to G minor. As with the first hymn, he offers a harmonic counter line, raising the fifth of the chord (a D) to an augmented fifth, then to a sixth, and back down. This hymn has no solo, although Vince’s fleet-fingered piano fills add a chattering commentary.

I chose not to transcribe his improvisations. That’s a personal matter for most jazz musicians. A transcription of a solo is for the sake of learning and understanding a musician’s style, not for the sake of replication or re-creation. And I’m certain that when my band members play his arrangements, they’ll create new solos of their own. That’s the fun of playing jazz.

The jewel of the three hymns is Thomas Aquinas’ communion hymn, correctly titled as “Adoro Te Devote.” Vince has squared off the flowing chant, in the key of D major, into easily sung quarter notes. The harmony is gentle, moving from D major to E minor to D over a F-sharp bass, and then to a G minor chord — again, such a Vince sound! — before a rapid cycle of fifths returns to a D chord.

The middle of the tune shimmers in a suspended chord over an A in the bass, before returning to the initial sequence. It’s a very satisfying harmonic sequence, and perfectly balances the experience of receiving the bread and wine of holy communion. Vince put it together perfectly. No wonder it was chosen as the flip-side for the 45 single Fantasy Records released to highlight “Theme to Grace”!

The translation of the Aquinas text is stilted and stiff; during our September presentation, my congregation will replace the words with the fresh translation in the new Presbyterian hymnal, under the title, “Thee We Adore, O Hidden Savior, Thee.” Once again, a blend of faithfulness and creativity will push the music forward, which is the promise of jazz within the liturgy.

In upcoming articles, I’ll report on Vince’s adaptations of the liturgical chant, and his introduction of three original compositions for the Mass.


Work hard and practice well, gentlemen ... August and September will be upon us before you know it!

Monday, June 1, 2015

A rather confused 'Boy'

Silly me: Until a few hours ago, I thought Fantasy's Max Weiss was solely responsible for the error-prone liner notes on Guaraldi's LPs, back in the day.

Turns out Columbia Records is equally guilty.

The Rod McKuen album
The past several hours of research and careful listening were prompted by a recent discussion in the Film Score Monthly message board, which undoubtedly resulted from the recent announcement of the CD re-issue (at long last!) of a Rod McKuen LP that is significant with respect to the Peanuts/Guaraldi oeuvre. The FSM thread's initial post is an honest attempt to distinguish between the Guaraldi combo's A Boy Named Charlie Brown album, with music drawn from the 1963 Lee Mendelson documentary that he never was able to sell to television; and the 1970 Columbia Records story-score LP, also titled A Boy Named Charlie Brown, and which served as the closest thing to an actual soundtrack for that 1969 film; and Rod McKuen's 1970 LP, also rather deceptively titled A Boy Named Charlie Brown, which appears to be a film score but actually is a collection of McKuen's music from the Peanuts film and three other movies he scored, Joanna, The Prime of Miss Jean Brodie and Me, Natalie. It's worth noting, as well, that the McKuen album tracks are re-recordings and different performances, and not actual music from the film(s) in question.

Got all that?

Unfortunately, the initial FSM post and subsequent dialogue revealed misinformation regarding how many songs McKuen actually contributed to the 1969 Peanuts film, which piqued my curiosity ... and led to my discovery that the Columbia Records story-soundtrack LP is guilty of serious errors.

And, sadly, these mistakes have been repeated by no less an authority than the American Film Institute's Catalog of Feature Films 1961-1970, where — on Page 117 — you'll find the blatantly wrong entry regarding A Boy Named Charlie Brown, which was duly cited by an FSM message board contributor who certainly had no reason to suspect an AFI publication.

All of which goes to show how pernicious bad data can become, once it migrates to the Internet.

This blog post, then, is an effort to set the record straight.

The film story/soundtrack album
First of all, the source of the problem: The Columbia LP is a condensed, storybook-style adaptation of the film, with excerpts of the dialogue heard above the score. For the most part, the LP employs the film's existing music cues, sometimes in the same places — sometimes not — and sometimes re-tracked behind newly recorded narrative "bridges" that describe primarily visual action. The LP also uses a few alternate takes not heard in the movie.

Each of the LP's two sides is a single long track. On the back of the LP sleeve, in the third column, an anonymous author attempted to divide each of these two tracks into distinct sections, by assigning sometimes arbitrary titles to each short "chapter." Each of these titles, in turn, is credited to one of five composers (or combined composers). And this is where the errors crept in, because McKuen is cited for all sorts of things that seem to be different songs ... but actually are reprises of the three songs he actually wrote for the film.

The misleading information, in part
To make matters even more confusing, these LP tracks employ the music in a way that has nothing to do with either the film's cue sheet, or a much more recent true score project which, alas, never saw the light of day (a lamentable situation I detailed in an earlier post).

I've therefore done what I obviously should have done years ago, and sussed out the actual contents of the Columbia LP, in terms of what you're hearing when, and who wrote it.

Starting with the latter, let's establish authorship.

As mentioned, McKuen contributed three songs: the title tune ("A Boy Named Charlie Brown"), "Failure Face" and "Champion Charlie Brown."

A fourth song, "I Before E," is by conductor/arranger John Scott Trotter (music) and Bill Melendez and Al Shean (lyrics).

Guaraldi used six of his own compositions throughout the film: "Charlie Brown's All-Stars," "Baseball Theme," "Blue Charlie Brown," "Linus and Lucy," "Skating" and "Lucifer's Lady."

Trotter delivered four of his own original compositions: "Cloud Dreams," "Catatonic Blues," "Bus Wheel Blues" and "Blue Puck." He also orchestrated "broader" instrumental versions of the songs by McKuen and Guaraldi.

Finally, one track must be credited to a certain Ludwig Van Beethoven.

The following lists give the LP's "chapter titles" first, followed by the actual compositions employed — which, in some cases, match the chapter titles — and who performs them.

So, let's begin with...


0:00  "A Boy Named Charlie Brown" — vocal, sung by McKuen
2:45  "Cloud Dreams" — performed by the orchestra
3:49  "Charlie Brown and His All-Stars" — actually "Charlie Brown's All-Stars," performed first by Guaraldi's combo, which then is joined by the orchestra
6:30  "We Lost Again" — actually "Baseball Theme," performed first by Guaraldi's combo, and then orchestrated; at 8:00, this segues to an orchestral instrumental version of "A Boy Named Charlie Brown"
9:31  "Blue Charlie Brown" — performed by Guaraldi's combo
13:27  "Time to Go to School" — actually "Linus and Lucy," performed by Guaraldi's combo
14:17  "I Only Dread One Day at a Time" — actually an orchestral version of "Charlie Brown's All-Stars"
15:27  "Failure Face" — vocal, sung by the Peanuts gang
16:12  "By Golly, I'll Show 'Em" — actually "Catatonic Blues," by the orchestra
19:20  "Class Champion" — actually an orchestral instrumental version of "Champion Charlie Brown"
19:42  "I Before E" — vocal, sung by Charlie Brown and Linus
24:36  "School Spelling Bee" — a brief orchestral instrumental reprise, with mouth harp, of "I Before E"
25:14  "Champion Charlie Brown" — vocal, sung by the Peanuts gang


0:00  "Start Boning Up on Your Spelling, Charlie Brown" — dialogue only; no music
1:45  "You'll Either Be a Hero ... or a Goat" — actually an orchestral instrumental version of "Champion Charlie Brown"
2:50  "Bus Station" — also a piano/orchestral instrumental version of "Champion Charlie Brown"
4:27  "Bus Wheel Blues" — orchestral version
5:42  "Do Piano Players Make a Lot of Money?" — actually a snatch of the third movement of Beethoven's Pathétique Sonata in C minor, Op. 13
6:18  "I've Got to Get My Blanket Back" — actually a minor-key orchestral version of "Linus and Lucy," which segues (at 7:28) to an orchestral instrumental version of "A Boy Named Charlie Brown," and then segues back (at 9:02) to a slow combo version of "Linus and Lucy"
10:44  "Big City" — actually a slow combo version of "Linus and Lucy"
11:48  "Snoopy on Ice" — actually a combo version of "Skating," which segues (at 13:24) to an orchestral presentation of "Blue Puck"
15:54  "Found Blanket" — actually a combo and orchestral version of "Linus and Lucy"
16:28  "National Spelling Bee" — actually an orchestral instrumental version of "Champion Charlie Brown"
17:03  "B-E-A-G-E-L" — dialogue only, no music, until it segues (at 21:01) to a string-heavy orchestral instrumental version of "A Boy Named Charlie Brown"
21:52  "Bus Wheel Blues" — orchestral reprise, with mouth harp
22:26  "Homecoming" — actually an orchestral instrumental version of "Champion Charlie Brown"
24:17  "I'm Never Going to School Again" — actually an orchestral instrumental version of "A Boy Named Charlie Brown"
24:49  "Welcome Home, Charlie Brown" — a combo rendition of "Lucifer's Lady"
25:45  "A Boy Named Charlie Brown" — vocal, sung by McKuen

And there you have it. If anybody ever untangles the legal rights and re-masters this LP for CD release, let's hope they get it right...

Thursday, May 21, 2015

Golden memories of Grace

50 years ago today, Vince Guaraldi and his trio — bassist Tom Beeson, and drummer Lee Charlton — made history when they debuted America's first worship service jazz Mass at San Francisco's Grace Cathedral.

Nor was Guaraldi a mere performer; he also wrote the jazz portions of the Mass, weaving fresh themes around the chanted "Plain Song" setting of the Eucharist's Missa Marialis. This wasn't merely typical jazz improvisation; all involved with this ground-breaking project took the precaution of adapting the Fourth Communion Service setting as a means of blunting criticism from conservatives who worried about bringing "saloon music" — the Devil's music — from the cocktail lounge into the church.

Such fears notwithstanding — and more than a few nasty, even threatening letters were received, prior to May 21, 1965 — Guaraldi's completed Jazz Mass was a resounding success in every possible way.

Which goes to show that God clearly is a jazz fan.

Guaraldi's involvement with the Mass had begun roughly 18 months earlier, when he was approached by a young Reverend named Charles Gompertz. The latter had been charged by his "boss" — the Right Reverend James A. Pike, Bishop of the Episcopal Diocese of California — to come up with a musical event that would suitably honor the then-under-construction Grace Cathedral during its inaugural "Year of Grace" celebrations. This was a very big deal, as Grace was soon to become the first major Anglican cathedral consecrated in the United States.

Gompertz had been drawn to Guaraldi the same way television director/producer Lee Mendelson had decided to select the jazz pianist for what eventually became the wildly successful Peanuts animated franchise: after hearing "Cast Your Fate to the Wind" on the radio. Gompertz and Guaraldi met at the Trident, the former outlining the project and all of its necessary parameters. None of this gave Guaraldi the slightest pause, who quite famously commented — as Gompertz vividly recalls, to this day — "Bach, Brahms and Beethoven all wrote masses ... so why not me?"

The next year and a half was to be quite busy, with Guaraldi rehearsing at least once each week with Barret (Barry) Mineah and his choir at St. Paul's Church in nearby San Rafael. When the big day finally came, the cathedral was filled to overflowing, people known to have driven from as far away as San Luis Obispo. The sermon was delivered by the quite radical Malcolm Boyd, the "coffeehouse priest" who — among his many other Civil Rights activities — had been one of 28 Episcopal priests present during 1961's Freedom Ride from New Orleans.

When it was all over — when Pike, Gompertz, Guaraldi and numerous other clergy members joined an impromptu reception in the vesting area — they began to realize, in Gompertz's words, that they had "done something bigger than all of us."


The resulting media explosion was huge, even by today's standards; Grace, Gompertz and Guaraldi remained in the news throughout the subsequent summer. The companion Fantasy LP was preceded by a 45 single, which undoubtedly raised eyebrows from casual listeners who never expected to hear "Adore Devote (Humbly I Adore Thee" or Guaraldi's "Theme to Grace" on pop and jazz radio stations. The Grace Cathedral staff, at best reluctant during the ramp-up to May 21, couldn't move quickly enough to take advantage of this unexpected success; Duke Ellington was hired to perform in the cathedral on Sept. 16.

Within just a few years, churches became quite popular settings for jazz celebrations, and of course we don't think twice about such things today.

This Golden Jubilee anniversary of Guaraldi's Jazz Mass hasn't gone unnoticed; I'm already reporting on the work being done by Bill Carter, pastor of the First Presbyterian Church of Clarks Summit, Pennsylvania. He and his jazz combo and church choir will deliver an anniversary presentation of Guaraldi's Mass on September 6, as faithful readers of this blog already know.

What you don't know is that another endeavor has just been announced, here on the West Coast.

Northern California-based jazz pianist Jim Martinez is no stranger to Guaraldi's music; by total coincidence, he has a new album of Guaraldi covers and Guaraldi-esque originals coming out in just a few weeks (which I'll discuss at greater length in a future post, when the CD is available for purchase). Meanwhile, Martinez has just gone public with his own plan for a Guaraldi Jazz Mass tribute event.

This will be a concert, not a formal Mass. Thus far, Jim anticipates an opening jazz set by his combo, followed by a short intermission and then a lengthy second half featuring his home-base Fair Oaks Presbyterian Church Choir, with the combo, in a program of themes from Guaraldi's Jazz Mass. The performance also will include some Gospel choir songs and major anthem pieces.

Best of all, as you'll see from the announcement here, this event will take place at no less than Grace Cathedral itself.

And, as an added bonus, the Fair Oaks Presbyterian Church Choir will be joined by a number of folks — now adults — who, as children, were members of the St. Paul Church choir that sang in Grace Cathedral 50 years ago today.

How's that for big news?

Jim and Bill Carter are collaborating on the heavy lifting: the necessary transcription of Guaraldi's music from the Jazz Mass, none of which ever was written down. They're doing it the hard way, by listening to the Fantasy LP and a few other snippets of unreleased recordings. (The original Grace Cathedral Mass ran much, much longer than what we hear on the Fantasy LP; the full majesty of Guaraldi's "Holy Communion Blues" is known to have lasted more than half an hour ... because a lot of people received Communion that evening. Sadly, that full recording is believed lost.)

Additional details will follow, so watch this spot.

It's gonna be a busy summer!