Wednesday, November 23, 2016

A Jolly Guaraldi Holiday 2016

The schedule gets busier every year ... and isn't that marvelous?

The holiday season returns anew, and it's once again time to investigate the many Guaraldi-themed concerts taking place, most of which (of course!) are tied in to his music from A Charlie Brown Christmas.

I traced the history and growth of this delightful tradition back in 2012, with a modest schedule that now seems quaint. This new post will serve as a clearinghouse for any and all late 2016 concerts that come to my attention. As always, I'll add to this schedule as new information becomes available, so do check back on occasion.

As has been the case for several years now, the most ambitious tour news comes from Concord recording artist David Benoit, who once again is taking his Christmas Tribute to Charlie Brown on the road. He's touring this time with special guest Sara Gazarek. Their schedule kicks off November 26 in Brea, California, and concludes December 19 in Livermore, California, with stops along the way in Washington, Alaska, North Carolina and Arizona. We caught Benoit's  performance in 2011 and 2015, and I can report that it's a great show. It's also tremendously sweet, since Benoit and his team work with a children's choir that is local to each stop. Check his website for details.

Benoit may be grabbing the lion's share of headlines in the States, but our Canadian neighbors will enjoy the return of the season's most historic booking. Drummer Jerry Granelli, who worked as a member of Guaraldi's trio in the 1960s, will headline Tales from A Charlie Brown Christmas with his own trio. The tour kicks off November 26 in Calgary, and concludes December 10 in Victoria. Alas, they're still all Canadian venues; he has yet to bring this show to the States. Granelli began this annual celebration with a few shows in 2013, and the results were quite popular (no surprise there). He'll again be joined by Simon Fisk (bass) and Chris Gestrin (piano). Check his website for details.

Saturday, November 19, 2016

A little of this, a little of that: The fall 2016 edition

Dr. Funk’s fans have long awaited the wide release of The Anatomy of Vince Guaraldi, ever since its debut as a work-in-progress at the 2009 Monterey Jazz Festival. The completed Andrew Thomas/Toby Gleason documentary subsequently screened at more than two dozen film and music festivals during 2010 and ’11, garnering several awards along the way, while seeking a mainstream distributor: a necessary next step which — sadly — never materialized.

Years passed, as Andy and Toby continued to pursue every possible lead; Guaraldi’s fans began to despair. Many of them wrote me impassioned notes, hoping I’d have an inside scoop on the situation. Alas, my response always was the same: Nothing had changed.

Until now.

The final barrier was the need to expand performance permissions — for the music used within the film — beyond the “festival license” level, in order to obtain the legal right to distribute The Anatomy of Vince Guaraldi via home video and streaming platforms. That isn’t cheap, and Andy and Toby had exhausted their own financial resources (hence the lengthy search for a distribution company, which would have handled such requirements).

But there is another option these days, at a time when crowd-funding has resulted in happy successes such as the creation and release of a big-screen sequel to the cult TV hit, Veronica Mars. Andy and Toby have set up a Kickstarter campaign, which went live on November 17. They have 31 days to reach a pledge goal of $61,000, and they’re hoping that fan interest will push them over that hurdle.

You can read an official press release here, and check out a 2-minute trailer here.

As with all Kickstarter campaigns, the various levels of financial support are accompanied by inducements: from a 16-page preview booklet, at the modest Jazz Cat level; to a producer credit that will appear at the beginning of the film — along with all the goodies promised at the levels in between — for those willing to become an Angel-Headed Hipster. Details are available here, and several of the promotional items will be available for shipment in time for the holidays.

Check it out, and you’ll surely agree: A wide release of The Anatomy of Vince Guaraldi would make a great Christmas/Hanukkah/Kwanzaa/Holiday-of-Choice gift ... not only for yourself, but for the entire jazz community. So pledge early, and pledge often ... and spread the word!


Jazz drummer Jerry Granelli, beloved in this blog as one of Guaraldi’s former sidemen, just received a tremendous honor at the annual Creative Nova Scotia Arts Awards gala, held November 5 at the Halifax Central Library. He was presented with the Portia White Prize, which recognizes cultural and artistic excellence in Nova Scotia — where Granelli has lived since 1988 — and those who have attained professional status and mastery in their discipline.

Among other things, Granelli was a prime mover in the establishment of the Halifax Jazz Festival, more than 30 years ago.

“When I recall ... how over the years you have trusted me with teaching your children, and supported the Creative Music Workshop as well as my performances, I feel such enormous gratitude,” Granelli said, during his acceptance speech. “And now to be honored with [this] award ... all I can really say is thank you. I will not stop.”

Additional coverage of this event can be found in the Halifax Chronicle Herald and the Nova Scotia Local Express ... although both articles repeat a grotesque error that has long circulated in Canadian newspapers, when discussing Granelli. Contrary to oft-published report, he is neither an “original” member of the Vince Guaraldi Trio, nor the “only surviving member” of the said trio: a claim that would be met with annoyance by Eddie Duran, Dean Reilly and Colin Bailey, all of whom preceded Granelli at Guaraldi’s side, and all of whom are still with us ... and, like Jerry, “not stopping.” (Talk about sloppy fact-checking. Sheesh!)

None of which is Granelli’s fault, of course, nor does it detract from the magnitude of his honor. Congrats and high-fives, Jerry!


Finally, a small surprise: Basement Blues, the new album from the John Stowell/Michael Zilber Quartet — Stowell (guitars), Zilber (sax and piano), John Shifflett (bass) and Jason Lewis (drums) — includes a Zilber original called “Have Yourself a Vince Guaraldi Xmas.” I’m hard-pressed to detect any obvious nods to Vince’s classic score for A Charlie Brown Christmas — although faint suggestions of “Christmas Time Is Here” hover throughout — but the tribute itself is quite nice to see.

Friday, August 5, 2016

By George!

George Winston needs no introduction to this blog; his devotion to Guaraldi pre-dates mine by a few years (albeit only a few!), and he has demonstrated his fondness with two gorgeous cover albums: 1996's Linus and Lucy: The Music of Vince Guaraldi, and 2010's Love Will Come: The Music of Vince Guaraldi, Volume 2. Nor has George stopped; he tirelessly seeks out and puts his own spin on additional Guaraldi recordings, even meticulously examining brief solos on Vince's recordings with (for example) Cal Tjader.

This fixation is about to bear fruit once again, as George soon will release Bay of Gold: The Music of Vince Guaraldi, Volume 3.

But these albums weren't George's first opportunity to interpret the music of his favorite Northern California-based jazz cat. Peanuts fans know that George was one of several noted musicians selected to score individual episodes of the 1988-89 eight-part animated miniseries, This Is America, Charlie Brown. His assignment, The Birth of the Constitution, ran second in the series, debuting on October 28, 1988.

George routinely writes quite extensive liner notes for his albums, often with additional information available on his web site. These notes read like an ongoing memoir, and in some cases I've gotten the impression that such essays might have been composed for an album project that never quite materialized. In this case, the notes were intended for an individual DVD release of The Birth of the Constitution, which Warner Bros. ultimately opted against. (George chose not to issue an album of his score, unlike Dave Brubeck and Wynton Marsalis, who did share their scores on CD.)

George recently has been going through his massives piles of notes, and he came across some items related to The Birth of the Constitution. He generously agreed to share them here, and so I'll turn the rest of this post over to him.

Take it away, George!


I was amazed when Lee Mendelson contacted me in 1988, about recording this soundtrack. After Vince’s untimely passing in 1976, when everyone decided to continue the Peanuts animations, I had imagined some time recording the soundtrack for an episode, and especially to use a Guaraldi song that he himself had not used in any of his 16 Peanuts scores — as I did here, with "Cast Your Fate to the Wind" — and also to use as many Guaraldi songs as possible, also keeping in mind first and foremost what Lee wanted.

Tuesday, June 14, 2016

Additional 'Grace' notes

2015 was a big year for Guaraldi, with 50th anniversary celebrations of both his score for A Charlie Brown Christmas, and the May 1965 debut of his Grace Cathedral Jazz Mass. The latter prompted two commemorative presentations of the Mass: the first in a concert setting that showcased Guaraldi's music, and took place August 15 at San Francisco's Grace Cathedral; the second a "replica" liturgical service that took place September 6 at the First Presbyterian Church in Clarks Summit, Pennsylvania.

St. John's Episcopal Church, Boulder, Colorado
Preparations for both were followed avidly by the Rev. Bruce Swinehart, rector of St. James Episcopal Church in Wheat Ridge, Colorado. Bruce corresponded enthusiastically with Jim Martinez, who orchestrated the San Francisco event; Bill Carter, who mounted the Pennsylvania service; and me, contributing whatever I could from the sidelines. Bruce eventually revealed his own plans for a presentation of Guaraldi's Mass, also in a church setting: a development I've followed with great interest.

2015 got away from him, but — proving once again that there's no such thing as too many commemorative honors — Colorado's own Guaraldi Mass has been scheduled for this Sunday, June 19, the fifth Sunday after Pentacost, at St. John's Episcopal Church in Boulder. The Rev. Swinehart will be the guest preacher, drawing from the sermon given by the Rev. Malcolm Boyd back in 1965, during the original Grace Cathedral Mass. The music will be performed by the Eric Gunnison Trio, a well-known local jazz ensemble. The St. John's Choir will be directed by Tom Morgan, known for leading the 36-member Ars Nova Singers, a nationally recognized ensemble celebrating its 30th anniversary this season.

The Rev. Bruce Swinehart
Bruce has taken pains to use the same hymns — all still in the Episcopal hymnal — that were sung by the San Francisco congregation during that original service. "I got them from an original bulletin from the May 1965 service," Bruce explains, "which Charles Gompertz very generously gave me, when I met him last year. It even has his notations in the margins, indicating which pieces were to be included in the subsequent Fantasy Records album."

The anticipated program is as follows:

Processional Hymn: "Praise to the Lord, the Almighty"
Collection for Purity
  + "Lord Have Mercy" (arrangement by Guaraldi)
Collection for the Day
Old Testament Lesson
  + Gradual Hymn: "Come Holy Ghost, Our Souls Inspire"
Holy Gospel: Luke 8:26-39
Sermon by The Rev. Swinehart
  + "Nicene Creed" (arrangement by Guaraldi)
Prayers of the People
The Peace
The Offerings of the People
  + Offertory: "Theme to Grace" (Guaraldi)
  + "Lift Up Your Hearts"
  + "Holy, Holy, Holy"
Prayer of Consecration
The Lord's Prayer
  + "O Lamb of God" (sung by the choir)
  + Communion (accompanied by Guaraldi's "Holy Communion Blues")
     Hymnal #314: "Humbly I Adore Thee" (arrangement by Guaraldi)
Prayer of Thanksgiving
Recessional Hymn: "Christ for the World We Sing!"

The Eric Gunnison Trio
"The prelude and postlude may include other melodies by the trio," Bruce adds. "I'm not exactly sure what they're planning. After all, they're jazz musicians!"

I remember hoping that last summer's 50th anniversary events might generate additional interest in Guaraldi's Grace Cathedral Jazz Mass, along with more church and/or concert presentations of that music. Dare I hope further than this Colorado service will be the first of many more such tributes?

It's a nice thought.

Thursday, May 19, 2016

A little of this, a little of that: The spring 2016 edition

I’m always delighted when fresh information allows a new entry to be placed in my timeline of Guaraldi’s activities ... and even more pleased when said information simultaneously solves a mystery.

My good buddy Doug — a frequent contributor to this blog — has been investigating Dave Brubeck of late, via various archives that included expanded subscription access to, a fabulous site that I frequently consulted while researching my Guaraldi bio. My (roughly) year with was back in 2010 and ’11; the nifty thing is that the site continuously expands, as more digitized publications are added to the archive. Thus, when Doug also indulged a whim to investigate Guaraldi a bit, he came across several items I’d not seen before.

The first is a TV program description. The Thursday, April 20, 1961, issue of San Rafael’s Daily Independent Journal, in writer Hal Case’s “Checking the Channels” column, includes this paragraph:

Another KQED attraction [Friday] night, at 10:30, will be a one-time-only battle of talent between three artists in different fields: illustrator Don Freeman, jazz pianist Vince Guaraldi, and pantomimist Bernard Bragg. The trio will challenge each other to ad lib performances.

In an earlier Independent Journal issue (Saturday, April 15), the actual TV listing titles this half-hour special Trio, with a brief explanation that reads “artist Don Freeman, pianist Vince Guaraldi and pantomimist Bernard Bragg.”

The program likely was broadcast live from San Francisco’s KQED Channel 9 studio, and there’s no evidence that a recording has survived. (More’s the pity.)

Freeman died back in 1978, after a successful career as an author and illustrator of children’s books; his best-known title likely is Corduroy. His son has mounted a loving tribute website. Bragg had a long and successful career as a performer, playwright, director and poet; his website is filled with information, photos and video clips.

But here’s the really cool part:

The first printing of my book incorrectly identified the individuals in this photo, on Page 162, as Guaraldi, director Lee Mendelson and animator Bill Melendez. Several people quickly pointed out the error, including Mendelson himself (which once again demonstrates the folly of relying on a single, so-called “authority” for information, and the need to double- and triple-source everything). Subsequent printings corrected that error, but nonetheless left me clueless regarding the identities of the other two men. Well, early 1960s photos of Bragg and Freeman have left no doubt: This photo, reprinted above, must’ve been taken at KQED either before or after the show. From left, we’re looking at Guaraldi, Bragg and Freeman.

And, so, another mystery yields to determined investigation. Way to go, Doug!

Tuesday, March 15, 2016

You're a picture LP, Charlie Brown

Fantasy/Concord surprises us this week with the release of a vinyl version of last summer's CD compilation, Peanuts Greatest Hits (discussed in greater detail in this previous post). Ah, but this isn't just any LP; it's a gorgeous picture disc with a smiling Charlie Brown on one side, and an equally (atypically?) cheerful Lucy on the flip side.

You can see the album in action — literally — during this YouTube promotional video. Note, as well, that the disc is being played on Crosley's Peanuts "Cruiser" Record Store Day Turntable, released back in late 2014 (but still available via Amazon and other outlets, if it slipped past your radar).

As one final bonus, Rock Father Magazine is giving away one of these picture LPs via an online raffle. A bit of registration is required, and entrants also need to cite their "favorite record of all time." (One wonders if responders who mention a Guaraldi album will get preferred scrutiny.) As these words are typed, the contest continues for only 11 more days, so if you're interested, don't delay!

But if you'd rather not wait, and/or don't fancy your chances in the raffle, of course you can purchase the picture disc right away, via Amazon.


Speaking of LPs, I just caught up with celebrated comedian Dick Gregory's East & West, released back in November 1961, just as his star was rising. The album has been available on CD for quite a few years at this point, and it's an important listen for several reasons.

Guaraldi shared a stage with Gregory numerous times, most famously during a nationwide college and university tour that began at Sacramento State University on October 23, 1963, and was scheduled to conclude at Detroit University on November 23. It didn't work out that way, thanks to an assassin in Dallas, Texas; the tour was cut short.

Gregory was already quite famous by the time this tour was put together, and East & West features two of his earliest sets, both from 1961: the first at the Blue Angel in New York City; and the second during his debut at San Francisco's hungry i. The precise recording dates aren't given, but it's known that Gregory did a lengthy stint at the hungry i during the summer of 1961. Since he mentions Soviet cosmonaut Gherman Titov's Earth orbit as a recent event — and it took place on August 6, 1961 — we can assume that this set was recorded either August 7 or 14, as hungry i bookings (at that time) usually began on Monday evenings.

Gregory touches on numerous other topics, such as airline hijackings; he also playfully disses San Francisco and, toward the end of the set, fantasizes about what he'd do if elected President of the United States (a particularly pointed segment, all these years later).

But the best part comes toward the beginning, when Gregory takes a lengthy poke at the hungry i itself, mere minutes after having been introduced by club owner Enrico Banducci:

Ain't no place in the world like this crummy joint. This is a weird place ... this is a basement! Three dollars a head they charge you, to get in a basement. I bet you don't go in your own basement for free, at home! You should see this joint when the fog lifts: no second floor! This is what you would call an 86-proof Disneyland. You ever been to a nightclub with no tables? Ain't this weird? It's sorta like drinking in church!

But they have to have joints like this in San Francisco, to bring tourists in. A lotta people come here, just for these types of places. Sorta like a nice place you'd like to visit, but you wouldn't want in your own neighborhood...

Given what I heard about the hungry i from the numerous musicians I interviewed, it sounds like Gregory really nailed it...!

Friday, February 26, 2016

A little of this, a little of that: the early 2016 edition

The greater San Francisco-area jazz community was quite tight in the late 1950s and early ’60s; not only did all the players know each other, they likely all performed together at some point during their careers. It’s therefore no surprise when I come across yet another musician who worked with Guaraldi, even if only briefly.

Dalt Williams
Today’s case in point is Dalt Williams, born and raised in Vallejo, California, where his music interest initially found him playing trumpet and tuba. He enlisted in the U.S. Army following high school, and soon found himself in the 438th Army Band at Camp Stoneman, in Pittsburgh, California. This was in the 1950s.

“They wanted to form a jazz group,” Dalt recalled, during a recent chat, “and a friend of mine was studying theory with Jack Weeks, well known for his work then with Cal Tjader. My friend suggested that I tag along, and I said sure. I’d been playing sousaphone at the time, but thanks to Jack, that’s how I got started on the bass.”

The bass subsequently became Dalt’s instrument of choice. A few years later, after his military service concluded, he resumed his formal education.

“I transferred to San Francisco State, and was playing with groups in the city. I got a call from Vince one day, it probably was some time in 1958, wanting to know if I was available, so I wound up working a few gigs with his trio. I remember the first one very well: It was for a dance at the NCO Club on Treasure Island, which still was a naval base back then.”

Dalt is certain that a few other gigs followed, but details are lost in the haze of more than half a century gone by. But his memory of Vince remains fond.

“He was an amazing player, and a straight-ahead guy. We’d have played standards at that dance; he’d call ’em, and we just played ’em. It was a smooth fit; as a bass player, I remember it was easy to follow along.”

Alas, no photos were taken of this meeting between rising pianist and bassist.

The stint with Vince was brief, and Dalt soon found himself a regular part of the Al Trobbe Trio. Graduation and a degree in music education from San Francisco State followed, after which Dalt happily embraced a 35-year career as a teacher. He never saw Vince again.

Even while teaching, Dalt found time to gig here and there. Today he’s part of a combo that bills itself as Jazz for All Occasions, which promises “swingin’ jazz for your event ... public or private, in the San Francisco Bay Area or Northern California.” Jazz obviously remains a passion.

“The idea is to book the gigs,” he chuckles, “get out, and have some fun!”

Friday, January 22, 2016

Barbed comments

Slowly but surely, little by little, the Internet delivers newly archived treasures that represent impressive effort by dedicated researchers and historians.

My newest find, discovered entirely by accident, is Independent Voices, a searchable open-access collection of alternative press publications from the 1960s, '70s and '80s. To quote their own web site, "Independent Voices provides more than 1,000 titles from the special collections of dozens of libraries ... providing easy access to the powerful voices of feminists, dissident GIs, campus radicals, Native Americans, anti-war activists, Black Power advocates, Latinos, gays, lesbians and more."

For my purposes, the site provides almost the entire run of the Berkeley Barb, from its debut issue on August 13, 1965, through April 24, 1980. (The newspaper actually ceased publication on July 30, 1980, and the archive also misses a few issues along the way: no doubt issues that Independent Voices couldn't locate.)

This is terrific, because the Barb ran an ambitious entertainment calendar in each issue, along with numerous club ads. As a result, my quick search on "Guaraldi" yielded 39 results: mostly gig dates — quite a few that were new to me — and the occasional display ad.

It's easy to get lost in the Wayback Machine, paging through random issues of the Barb, which was quite the font of campus radical thought ... not to mention eyebrow-raising ads and photos for massage parlors, X-rated films and other sources of, ah, prurient matters. (The easily offended, or those with conservative tastes, therefore are advised to proceed with caution.)

Discovering Independent Voices encouraged a return visit to ChickenonaUnicycle, an even more impressive archive of greater San Francisco-area club calendars, gig posters and informative essays, all lovingly maintained by Ross Hannan and Corry Arnold. They're good about updating, and I hadn't caught up with recent developments; my reward was a June 1972 calendar poster for the Inn of the Beginning, which includes an appearance by our favorite jazz pianist.

Fair warning, though: You can get lost in this site for years. Anybody who came of age in the 1960s and '70s will have all sorts of memories revived ... or fabricated. (You know what they say: If you remember the '60s, you weren't there!)

Saturday, December 19, 2015

A little of this, a little of that ... Take 5

Aside from their savvy filmmaking skills, the folks at Blue Sky are equally adept when it comes to marketing and promotion. It would have been very difficult to miss hearing about The Peanuts Movie; we were reminded by everything from freeway billboards and YouTube videos, to the usual assortment of product tie-ins. By far the best gimmick, however, is the website that allows visitors to "Peanutize" themselves. It takes a bit of skill to get it right; I had far better results when my younger sister, a talented artist, took charge of the rendering. If you'd like to give it a shot, check it out here.

Concord Records, recognizing the value of such a clever marketing tool, has created a similar site that allows visitors to apply Guaraldi's signature mustache to themselves (or anybody else). It's quite a hoot, although you need just the right photo, taken at the proper angle, for the effect to work properly. So go ahead: Give yourself a Guaraldi 'stache!


I love corresponding with fellow Guaraldi fans; aside from the enjoyment that springs from sharing our mutual enthusiasm, such exchanges can be fun and enlightening. A recent note from a helpful fellow named Jim called my attention to an interesting fact: Whether by accident or design, the release of jazz pianist David Benoit's new album, Believe, makes it possible to assemble a complete Benoit cover of Guaraldi's Charlie Brown Christmas soundtrack album. Jim even provided a handy guide for doing so:

1. "Oh Tannenbaum" (Christmastime, 1983)
2. "What Child is This" (Christmastime, 1983)
3. "My Little Drum" (Believe, 2015)
4. "Linus and Lucy" (Here's to You, Charlie Brown, 2000)
5. "Christmas Time is Here" - Instrumental (Christmastime, 1983)
6. "Christmas Time is Here" - Vocal (Believe, 2015)
7. "Skating" (Remembering Christmas, 1996)
8. "Hark, the Herald Angels Sing" (Remembering Christmas, 1996)
9. "Christmas is Coming" (Remembering Christmas, 1996)
10. "Fur Elise" (40 Years: A Charlie Brown Christmas, 2005)
11. "The Christmas Song" (Remembering Christmas, 1996)

12. Bonus Track: "Surfin' Snoopy/Air Music," from the "Guaraldi Medley" (Believe, 2015)

"Interestingly," Jim notes, "this set flows nicely, even though the songs were recorded over the course of 32 years. I had to adjust the volume on some tunes to keep it consistent, but otherwise it's difficult to discern the vintage of each track."

Many thanks, Jim; I suspect several folks are about to compose a new playlist!


As I mentioned in a previous post, Concord didn't miss the opportunity to celebrate the 50th anniversary of Guaraldi's Charlie Brown Christmas soundtrack; the label tantalized us with a CD anniversary gift pack and three retailer-exclusive LPs on colored vinyl, along with a CD re-release of the album itself. In late November, a Concord publicist asked if I'd be willing to do some radio spots, to help promote all of these goodies, and just chat about Guaraldi in general. Sure, I said; sounds like fun.

Clearly, I should have requested clarification of the word "some."

(Not that it would have changed my answer, but I'd have been spared the sticker-shock.)

I subsequently received two packed schedules: 11 interviews at 15-minute intervals between 6 and 9 a.m. December 1, with a longer piece at 2 p.m. that afternoon; and 11 more between 6 and 10 a.m. December 3.

It was a scramble, although not quite as frantic as I feared. Most of the spots were on news and talk stations, and therefore only about 5-7 minutes; I usually had time to catch my breath before the next one. I definitely gained additional respect for film actors who get stuffed into a hotel room during a promotional tour, and must endure an entire day of interviews booked at 20-minute intervals.

Some of the DJs and hosts weren't at all prepared, despite Concord having sent along plenty of background information; in those cases, some of the questions and comments were inane. Happily, several of the DJs were quite prepared, one to a degree that I'm certain extended beyond what Concord had provided. I love folks who do their research!

If you're curious, these are two of the better spots:

KFOR, in Lincoln, Nebraska (in two parts; scroll down to get the links in order)

Overnight America, which is syndicated to roughly 90 markets

I also did a podcast for American Standard Time.

From left, David Willat, Beth Ruyak, your blog host and Jim Martinez

Finally, I marked the actual anniversary — December 9 — with a live chat on Sacramento's Capital Public Radio, on the public affairs show Insight, hosted by Beth Ruyak. I shared the microphone with jazz pianist and fellow Guaraldi fan Jim Martinez, and former St. Paul's Church Choir member David Willat, who as a young lad was one of the kids singing during the actual Charlie Brown Christmas TV special.

It has been quite a year for Guaraldi; 2016 likely will seem very quiet, by comparison!

Tuesday, November 17, 2015

A Jolly Guaraldi Holiday 2015

Good heavens; the holiday season approaches yet again! That means it's time to investigate the many Guaraldi-themed concerts taking place, most of which (of course!) are tied in to his music from A Charlie Brown Christmas.

I traced the history and growth of this delightful tradition in 2012, in a blog entry which I encourage the curious to read. Meanwhile, this new post will serve as a clearinghouse for any and all late 2015 concerts that come to my attention. I'll add to this schedule as new information becomes available, so do check back on occasion.

As has been the case for several years now, the most ambitious tour news comes from Concord recording artist David Benoit, who once again is taking his Charlie Brown Christmas show on the road. He's touring this time with jazz chanteuse Jane Monheit, with whom he recorded their new holiday album, Believe. Their schedule kicks off November 28 at New York's Rockville Center, and concludes December 20 at the Blackhawk Museum in Danville, California, with stops along the way in Illinois, Kentucky, Texas, Virginia, North Carolina and several other venues across the United States. We caught Benoit's 2011 performance in Livermore, California, and I can report that it's a great show. It's also tremendously sweet, since Benoit and his team work with a children's choir that is local to each stop. Check his website for details.

For those wanting a bit more detail about Benoit's involvement with the Peanuts franchise, this short interview is worth a look.

Benoit once again is grabbing the lion's share of headlines in the States, but our Canadian neighbors will enjoy the return of the season's most historic booking. Drummer Jerry Granelli, who worked as a member of Guaraldi's trio in the 1960s, will headline performances of the music from A Charlie Brown Christmas with his own trio. They'll perform nine times, starting November 28 at Calgary's Central United Church; and concluding December 18, at the Arts & Culture Center in Corner Brook, Newfoundland. Granelli first presented this show a few times in 2013, and the results were quite popular (no surprise there). He'll again be joined by Simon Fisk (bass) and Chris Gestrin (piano). Check his website for details.

I must — of course! — mention my good buddy Bill Carter. Followers of this blog know that Guaraldi's Grace Cathedral Jazz Mass recently was revived at Carter's First Presbyterian Church of Clark's Summit, Pennsylvania. Well, Carter has a few more choice events up his sleeve. He and his Presbybop Christmas Eve Band will present an afternoon concert titled A Charlie Brown Jazz Christmas Sunday, December 13, at the First Presbyterian Church of Hawley, also in Pennsylvania. This will be followed by Presbybop's annual Jazz Christmas Eve concert at Carter's First Presbyterian Church, which I'm told also will focus on Guaraldi's music from A Charlie Brown Christmas. Details.

The Heather Pierson Quartet — Pierson on piano, Joe Aliperti on sax, Shawn Nadeau on bass, and Craig Bryan on drums — has scheduled a mini-tour of (thus far) six shows devoted to A Charlie Brown Christmas. They kick off December 4 in Eaton, New Hampshire, and conclude December 17 in Laconia, New Hampshire, with stops in Massachusetts and Maine. Check her website for details.

The Cartoon Christmas Trio doesn't concentrate solely on music from A Charlie Brown Christmas; they also pepper their performances with tunes from other animated holiday shows, such as Frosty the Snowman and How the Grinch Stole Christmas. (Their album is a kick; give it a listen.) They have seven shows scheduled thus far, starting December 5 in Newark, Delaware; and concluding December 20 in Wilmington, Delaware; with other shows in Pennsylvania and New Jersey. Check their website for details.