It also represents a fresh windfall for researchers seeking Northern California-based information, as I recently discovered. One of my many Guaraldi-themed investigations happened to pull up a page from the Daily last week, which raised eyebrows and quickly led to the archive home page. A search on the term "Guaraldi" gives 78 results, a good many of which yielded fresh information and/or served as supplementary sources for already established details (always a good thing). A 79th hit pops up when searching for the incorrectly spelled "Guraldi," which once again proves that one must remember to explore alternate spellings of desired terms.
As with all well-designed archives, the results include both articles and advertisements that include Guaraldi's name; the latter are always fun to see, and I snagged several to enhance the visuals on my extensive Guaraldi timeline.
|June Cochran, back in the day|
Goodness, what an afternoon that must have been!
A few years further along — on April 23, 1965 — a mischievous music brief mentions that Guaraldi and Bola Sete are at El Matador, and that "As an extra added attraction, bullfight movies will be shown on Sunday night, to jazz accompaniment, no doubt."
The first substantial treat appears May 9, 1966: a review of the previous evening's benefit concert at Stanford's Frost Memorial Amphitheater, which featured headliner Glenn Yarbrough, with an opener by Guaraldi's combo. Despite that billing, staffer Aaron Ross' (somewhat harsh) critique actually devotes more space to Guaraldi, beginning with the first paragraph and continuing onward:
Cool, relaxed, easygoing, that's the mood set by Vince Guaraldi at the Sunday concert for the Convalescent Home. Vince first gained recognition in 1960 with his album "Black Orpheus," taking the sound track from that movie and setting it to jazz.
I'm sorry to say, Vince's music hasn't changed much from those days; he still uses many of the same compositional formulas today. His solos are sometimes interesting, but on the whole are filled with standard clichés.
I don't mean to say that he's a prostitute, just that he's safe. He sticks to the security blanket that brought him fame and fortune. This is sad, because he's a very talented and capable musician. Someday, I hope he shows it.
Vince, for the past few years, has featured a guitarist. The first was Bola Sete, who was such a success, he took off on his own. More recently, he's been featuring George Morel, a semi-classical guitarist from Buenos Aires, Argentina, a very fine technician who has brought a refreshing change of pace.