Mellow yellow!

No surprise; yet another treat has been announced for this, Peanuts' 75th anniversary year.

Seven years ago, almost to the day, Omnivore Recordings announced the release of The Complete Warner Bros.–Seven Arts Recordings (encompassing Vince’s three Warner Bros.-Seven Arts albums: Oh, Good Grief!, The Eclectic Vince Guaraldi and Alma-Ville), as a two-CD set with four previously unreleased bonus tracks; and the classic Oh, Good Grief! album, on translucent red vinyl. Full details are in this earlier post.

Earlier this morning, Omnivore announced a special "Peanuts Anniversary" version of Guaraldi's first Warners album, Oh, Good Grief, on banana yellow vinyl, along with companion versions on CD and black vinyl. All are the re-mastered versions by multiple Grammy Award-winning restoration and mastering guru Michael Graves.

As a bonus, all three variants include my new liner notes, written specifically for this anniversary release, which will hit stores on May 30.

Check out this cool promotional video and Omnivore's press release, and — while you're at it — place an advance order!

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A few weeks ago, I spent an enjoyable hour chatting with William Pepper, who runs It's a Podcast, Charlie Brown. My episode, No. 139, debuted yesterday; you can find it here. We talked about Peanuts (of course), but with a particular focus on Guaraldi.

William came prepared with good questions, and the resulting discussion was a lot of fun. I hope you all enjoy the listen!

A milestone anniversary

This is Guaraldi-related only to a slight degree ... but an important one.

All sorts of things and events will help mark this year's 75th anniversary of Charles M. Schulz's Peanuts newspaper strip, but Abrams ComicArts likely will take center stage with this lavish coffee table book.

The Essential Peanuts — an opulent hardcover in a slipcase — is assembled by Mark Evanier. It presents the most iconic and essential Peanuts comic strips with fresh historical and cultural context. The book also features an introduction by Patrick McDonnell, a foreword by Jean Schulz, and contributions from 15 notable commentators. The book is designed by Chip Kidd, and includes a portfolio of collectible Peanuts ephemera: postcards, prints, an embroidered patch, stickers and a facsimile of a classic Peanuts comic book.

“Having loved Peanuts since I was about Charlie Brown's age (and no more successful at kite-flying), I was thrilled when Abrams ComicArts asked me to spend weeks reading and writing about the comic strip that was so much more than just a comic strip,” Evanier said. “The only drawback was that I tried writing the book sitting on the roof of a doghouse, but I kept falling off.”

Evanier is the award-winning author of Kirby: King of Comics and MAD Art. A respected writer, historian and editor, he has worked extensively in the worlds of comic books and television, earning a reputation as one of the foremost authorities on comics and animation. Evanier has earned three Emmy Award nominations, and he received the Lifetime Achievement Award for animation from the Writers Guild of America.

“As we mark 75 years of Peanuts, this partnership with Abrams ComicArts is a testament to the lasting impact of Schulz’s beloved characters,” noted Craig Herman, vice-president of Global Brand Experiences, and Publishing, at Peanuts Worldwide. “Since being introduced to the world on October 2, 1950, Peanuts has been at the forefront of pop culture, and we can’t wait for fans to discover this extraordinary anniversary edition.”

The Essential Peanuts underscores how and why the comic strip transcends cultural, generational and linguistic barriers to remain relevant and beloved. By exploring Schulz's creative ambition, his wry commentary on childhood struggles and triumphs, and his enduring influence on art, literature and everyday life, Evanier not only celebrates an incomparable legacy, but also reveals the universal appeal at the heart of Peanuts.

The 15 commentators:

• Robb Armstrong

• Rob Boutilier 

• Paige Braddock

• Alberto Brambilla 

• Benjamin L. Clark 

• Ben Folds

• Sarah Gillespie 

• Chip Kidd

• Amy Lago

• Mike Massimino

• Akio Matsunaga

• Jeff Morrow

• Hilary Price

• Shuntaro Tanikawa ...

...and me, thus the Guaraldi connection. My essay discusses how Dr. Funk became involved with Schulz's characters, when Lee Mendelson heard "Cast Your Fate to the Wind" on his car radio at an opportune moment.

Save coffee table space for this one, because you won't want to miss it. The Essential Peanuts will hit bookstores just in time for the actual 75th anniversary, on October 2, 2025. 

A couple of terrific reunions

Two new YouTube goodies absolutely deserve your attention.

The first is the most recent episode of Heath Holland’s Cereal at Midnight podcast, an ongoing program that he cheerfully describes as “the culmination of an entire lifetime of nerdy pursuits.”

 

That’s a fair descriptor of many episodes, but I wouldn’t call this one nerdy. 

 

With an assist from Jason and Sean Mendelson, and timed to the upcoming release of the soundtrack for It’s the Easter Beagle, Charlie Brown, Heath gathered three veteran jazzmen — drummers Mike Clark (perhaps best known for working with Herbie Hancock) and Eliot Zigmund (famously with Bill Evans), and bassist Seward McCain (Mose Alison, Cleo Lane and others) — for a group Zoom session, to discuss their long-ago stints as members of Vince Guaraldi’s various combos.

 

The hour-long result is a wealth of reminiscences, anecdotes and some observations about jazz itself. Aside from their times with Guaraldi, topics include the respective jazz scenes in New York and San Francisco — and the often notorious divide between East and West Coast jazz — and how exposure to classical music (!) influenced their careers.

 

It's also fun to see how these three guys genuinely enjoy the camaraderie. Goodness, Seward and Eliot hadn’t seen or spoken to each other in decades.

 

I don’t want to spoil the viewing experience, but — as I furiously jotted notes — a few nuggets are worth mentioning.

 

Seward McCain and Vince Guaraldi at Butterfield's circa 1974-76

When each was asked what it was like, to play on a project that would be viewed on television by millions of folks, Seward’s response was quite philosophical. Unlike playing in front of live crowds, he began, even large ones, “You get no feedback, playing the music for a Charlie Brown special; you just play and leave. It’s still a bit of an unreality to me, the huge number of people that heard this music.”

Mike’s comment is almost unbelievable, because he didn’t realize he was making music for a television special: “[Vince] would call and say we’d be in the studio that day, no clue what we’d be playing. I don’t recall him ever saying anything about Charlie Brown. He’d just say, Okay, give me a groove like this, or give me 28 seconds of this, and I had no idea what it was for. He’d play like Wynton Kelly, and we’d just swing all night. And then this stuff aired on TV for years, before I even knew I was on it!”

 

Eliot credits his time in Vince’s trio with getting him the gig with Bill Evans; Mike recalls being recommended to Guaraldi by saxophonist Vince Denham, and fondly recalls the “great jams” at San Francisco’s Pierce Street Annex. All three men still perform; Eliot, soon to turn 80, wittily observes that “Drummers need to stay in good shape. I don’t dig carrying the drums, but I love playing them.”

 

And here’s something I never knew before: Mike mentions playing classical music with Vince at San Francisco’s Glide Memorial Church. (It’s worth noting that chanteuse Faith Winthrop, who was backed by Guaraldi’s early hungry i trio, founded that church’s community gospel group.)

 

Seriously, Mike? When? When?!?

 

All three still remember Vince fondly. 

 

“Vince was fun to be around,” Eliot says, wistfully, “and he loved to swing.”

 

“Vince played with rhythm, and he was in the groove,” Seward adds. “His notes were a lot of fun. Vince laid it down.”

 

“He had a dirty beat,” Mike concurs. “He could play New York style. And he could play two-handed boogie-woogie like nobody else.”

 

Referencing the fact that Guaraldi can be heard saying “Cue 1!” at the top of the first track on the Easter Beagle album, Mike adds, “As soon as I heard his voice, it hit me in the heart, and made me think how much I loved that guy.”

 

Amen to that.

 

********

 

The aforementioned album concludes with a truly special bonus track, recorded in 2021 at the same San Francisco studio where this soundtrack was laid down half a century ago: a brand-new “Woodstock Medley” — blending “Woodstock’s Wake-Up,” “Little Birdie,” “Woodstock’s Dream” and “Thanksgiving Theme” — by the trio of Seward, Mike and pianist David Benoit. It’s a fabulous performance, running just shy of 7 minutes.

 

I’ve known, pretty much since the medley was laid down, that Sean and Jason also filmed it ... and I’ve yearned, for almost four years, to see that footage.

 

Well, now everybody can watch it, in Sean’s marvelous music video, which he co-produced with Jason, and co-edited with Palmer Mendelson. The film is a captivating document of the studio performance, interspersed with brief “talking head” commentaries by the three musicians.

The nicest, heart-tugging touch: a final shot of Lee Mendelson, wielding a clapboard, while standing in front of Peanuts memorabilia that includes an impressively huge stuffed Snoopy.

Honesty, guys; clap yourselves on the back. This is a treasure! 

Full Impressions!

Following this month's earlier announcement of a Record Day Exclusive edition of the previously unreleased alternate takes from the original recording sessions that produced 1964's Jazz Impressions of A Boy Named Charlie Brown, Craft Recordings has just announced the expanded edition of that classic album, to help celebrate this 75th anniversary year of Peanuts.

Available for pre-order today on two-CD and digital platforms, the newly remastered album includes the aforementioned 11 previously unreleased outtakes, along with the original album's longtime favorite tracks: “Linus and Lucy,” “Baseball Theme,” “Charlie Brown Theme” and many others.

Street date is April 11.

Read the full Craft press release here. Pre-orders can be made here.

The tracks are newly remastered from the original tapes by Grammy Award-winning engineer Paul Blakemore. The package also includes new liner notes by ye humble blogmeister, along with essays from producer Lee Mendelson and music journalist Ralph J. Gleason, both of which appeared in the album's original gatefold pressing.

(It's important to note, however, that Mendelson's notes were dropped when the LP was reissued in a standard, single-sleeve jacket. Re-reading Mendelson's notes today is quite eye-opening!)

Track Listing (CD/Digital):

Disc 1:

1.    Oh, Good Grief

2.    Pebble Beach

3.    Happiness Theme (Happiness Is)

4.    Schroeder

5.    Charlie Brown Theme

6.    Linus and Lucy

7.    Blue Charlie Brown

8.    Baseball Theme

9.    Frieda (with the Naturally Curly Hair)

Disc 2:

1.    Linus and Lucy (Studio Test)

2.    Linus and Lucy (Take 3)

3.    Happiness Theme (Happiness Is) (Take 4)

4.    Pebble Beach (Take 7)

5.    Baseball Theme (Take 1)

6.    Oh, Good Grief (Take 1)

7.    Schroeder (Take 3)

8.    Baseball Theme (Take 2)

9.    Oh, Good Grief (Take 1/Later Session)

10.  Schroeder (Take 2)

11.  Blues for Peanuts

12.  Charlie Brown Theme (Take 4)

13.  Blue Charlie Brown (Take 1)

14.  Frieda (with the Naturally Curly Hair) (Take 1)

15.  Fly Me to the Moon

16.  Autumn Leaves

This year is becoming quite the Guaraldi extravaganza! 

Record Store Day surprises!

Guaraldi fans are in for quite a treat, when April 12 — Record Store Day — rolls around.

We’re already primed for the upcoming release of It’s the Easter Beagle, Charlie Brown, as detailed in this earlier post.

But as an additional bonus, the folks at Lee Mendelson Film Productions have just announced a Record Day exclusive of this album: individually foil-stamped and numbered, on — are you ready for this? — egg-shaped vinyl. To drive folks even crazier, the LPs will come in five different colors ... and they’re “mystery colors.” You won’t know what you’ve got, until you take it home and check it out.

Additional details can be found on the official LMFP press release, and full details about all of the album’s iterations are available on this LMFP master release.

But wait ... there’s more!

The crafty folks at Craft Recordings (sorry, couldn’t resist) have kept this release secret until now: a Record Store Day exclusive version of Guaraldi’s Jazz Impressions of A Boy Named Charlie Brown.

But no; not the 1964 album that we all know and love. 

This LP will feature new and unreleased alternate takes of songs from the original recording sessions!

 

Jazz Impressions of a Boy Named Charlie Brown (Alternate Takes) features two alternate versions of “Linus and Lucy,” including an early studio test; outtakes of “Oh, Good Grief”; the charming ode to fellow pianist “Schroeder”; the sweepingly carefree “Baseball Theme,” and more. 

“It’s not a children’s album,” All About Jazz pointed out, “but rather a top-notch series of breezy jazz treatments.”

 

This edition is pressed on sky-blue vinyl, limited to 3,400 copies, and mixed and mastered from the original analog sources by Grammy Award-winning engineer Paul Blakemore. The lacquers were cut by Matthew Lutthans at Cohearent Audio.

 

The track list:

 

Side A

1. Linus and Lucy (Studio Test)

2. Linus and Lucy (Take 3)

3. Happiness Theme (Happiness Is) (Take 4)

4. Pebble Beach (Take 7)

5. Baseball Theme (Take 1)

6. Oh, Good Grief (Take 1)

7. Schroeder (Take 3)

8. Baseball Theme (Take 2)

9. Oh, Good Grief (Take 1 / Later Session)

 

Side B

1. Schroeder (Take 2)

2. Blues for Peanuts

3. Charlie Brown Theme (Take 4)

4. Blue Charlie Brown (Take 1)

5. Frieda (With the Naturally Curly Hair) (Take 1)

Double-CD and digital release will occur on April 4; see this updated post.

This album is one of Craft's seven RSD releases; full details are here.

The complete list of RSD exclusives can be found at the Record Store Day website, which also includes a list of participating stores across the country. But remember: That list never is complete, so it’s best to call your favorite brick-and-mortar record store, in order to reserve or purchase one or both of these albums.

And should it prove necessary, on April 12 ... get in line early! 

Chart action: The 2024 holiday season

After 2023 produced only a single vinyl edition of A Charlie Brown Christmas, we wondered if the "multiple variants" fad had concluded.

Answer: definitely not.

2024 gave us four variants, as detailed in this earlier post.

And those multiple variants clearly had an impact on sales and chart position. 

The album returned to the Billboard 200 on November 16, entering at #170. The subsequent results: #108 (11/23), #58 (11/30), #29 (12/7), #17 (12/14), #18 (12/21), #12 (12/28) and peaked at #11 (1/4) ... one notch higher than the previous year. It then dropped precipitously to #138 (1/11) and vanished the following week.

It did significantly better in the Jazz Albums chart, debuting at #13 on August 31 (!). The subsequent ride was quite a roller coaster: #15 (9/7), #13 (9/14), #20 (9/21), #18 (9/28), #14 (10/5), #9 (10/12), #7 (10/19 and 10/26), #5 (11/2), #4 (11/9), #3 (11/16), #2 (11/23 and 11/30), #3 (12/7, 12/14, 12/21 and 12/28), #4 (1/4 and 1/11), #7 (1/18), #10 (1/25), #15 (2/1), #17 (2/8), #20 (2/15) and #24 (2/22, 3/1 and 3/8), and finally vanished the following week. All told, it remained in this chart for slightly more than half a year!

The Traditional Jazz chart was quite similar, starting at #11, also on August 31. The subsequent results: #13 (9/7), #11 (9/14), no appearance on 9/21 (!), #13 (9/28), #12 (10/5), #7 (10/12), #6 (10/19, 10/26 and 11/2), #3 (11/9 and 11/16), #2 (11/23 and 11/30), #3 (12/7, 12/14, 12/21 and 12/28), #4 (1/4 and 1/11), #5 (1/18), #8 (1/25), #12 (2/1), #13 (2/8) and #15 (2/15). It vanished the following week.

Apparently, people continued to purchase the album well past Christmas!

Since it continues to appear in the latter two charts, I'll continue to update this post, if necessary ... so check back occasionally.

Billboard's seasonal Top Holiday Album chart was somewhat frustrating. As expected, A Charlie Brown Christmas did quite well, starting at #3 on November 2, and remaining in the top 10 for the rest of the season: #2 (11/9), #5 (11/16), #4 (11/23 and 11/30), #6 (12/7), #5 (12/14), #6 (12/21), #5 (12/28), #7 (1/4) and #4 (1/11), after which that chart was closed until later this year. Nobody could dislodge Michael Buble from the top spot, and Vince also couldn't beat Nat King Cole!

The news was better, however, in the Hot 100. "Christmas Time Is Here" re-entered the chart at #48, on December 21 ... then rose to #46 the following week, and then #31 on January 4. The latter is an all-time high!

But wait ... there's more!

Thanks to the Lee Mendelson Film Productions' recent release of the soundtrack to Be My Valentine, Charlie Brown on black vinyl and two variants — as detailed in this earlier post — that album also began to chart!

It debuted on the Jazz Albums chart on 2/1, at #9, then dropped to #13 (2/8), #22 (2/15) and then rebounded to #16 (2/22).

It debuted on the Traditional Jazz Albums chart the same day, at #7, then dropped to #11 (2/8). It vanished on 2/15, but then reappeared at #12 on 2/22.

It also debuted on the Top Albums chart that same day, at #48 ... but vanished the following week.

(In case you're wondering, Billboard always dates its charts on the Saturday following each Tuesday's fresh set of statistics.)

As I said above, keep checking back ... because I suspect we aren't done yet! 

Egg-citing news!

Guaraldi’s full score for 1974’s It’s the Easter Beagle, Charlie Brown will be available for purchase on on March 21. The album can be pre-ordered on CD or black vinyl at Amazon and the MVD Shop, as well as other online retailers and your favorite brick-and-mortar record store. (As always, it also will be available digitally.)

An "Easter Purple" colored vinyl variant, limited to 2,000 individually numbered BioVinyl copies, is available solely at independent record stores. Check with your local store, to reserve or purchase a copy. Recordstoreday has a list of stores, but the list is incomplete; best to give your preferred store a call, even if it isn't on the list.

As an additional bonus, the folks at Lee Mendelson Film Productions also announced a Record Day exclusive of this album: individually foil-stamped and numbered, on — are you ready for this? — egg-shaped vinyl. To drive folks even crazier, the LPs will come in five different colors ... and they’re “mystery colors.” You won’t know what you’ve got, until you take it home and check it out.

Additional details about the Record Store Day release can be found on the official LMFP press release, and full details about all of the album’s iterations are available on this LMFP master release.

Three sample tracks can be streamed here, and ordering links for all iterations are here.

During an unusually busy half-year that began in October 1973, Guaraldi scored an unprecedented three Peanuts animated TV specials. His music for It’s the Easter Beagle, Charlie Brown — last on a list that began with A Charlie Brown Thanksgiving and It’s a Mystery, Charlie Brown — was completed during three 1974 sessions at San Francisco’s Wally Heider Studios, on January 30, March 1 and April 9. He was joined by Seward McCain, bass, while Glenn Cronkhite and Eliot Zigmund split the chores on drums.

Guaraldi favored electric keyboards on this score, with varied cues that are as larkish as the on-screen action. The title theme is a fleeting little number, and he sprinkles fragments of “Linus and Lucy” and “Peppermint Patty” throughout the show. A shopping sequence is blessed with the show’s longest cue: “Woodstock’s Dream,” a whimsical melody that offers droll counterpoint as the kids travel up and down escalators, while searching this massive store for eggs.

This album features a particularly special bonus track: a medley of "Woodstock" tunes performed nearly 50 years later by pianist David Benoit, alongside original Guaraldi sidemen Seward McCain (bass) and Mike Clark (drums), recorded at the same San Francisco studio — now called Hyde Street — where the Easter Beagle soundtrack originally was recorded. 

The track listing:

1. Peppermint Patty

2. Easter Theme / Easter Theme (Reprise)

3. Beethoven: Piano Sonata No. 3 in C Major, Op. 2 No. 3 - I. Allegro con brio

4. Snoopy and Woodstock

5. Linus and Lucy

6. Woodstock's Dream

7. Snoopy’s Gumballs / Sally and Linus

8. Woodstock's Dream (Reprise)

9. Marcie's Song (Kitchen Music)

10. Linus and Lucy (Reprise)

11. Woodstock’s Pad

12. Woodstock’s Dream (2nd Reprise)

13. Music Box Dance (Minuet in G Major, BWV Anh. 116)

14. Woodstock’s Dream (3rd Reprise)

15. Easter Egg Soup (Kitchen Music 2)

16. Linus and Lucy (2nd Reprise) / Linus and Lucy (3rd Reprise)

17. Beethoven: Symphony No. 7 in A Major, Op. 92 - II. Allegreto

18. Beethoven: Symphony No. 7 in A Major, Op. 92 - I. Poco sostenuto - Vivace

19. Salting Eggs / Linus and Lucy (4th Reprise)

20. Bonus Track: Woodstock Medley (Woodstock’s Wake-Up / Little Birdie / Woodstock’s Dream / Thanksgiving Theme / Little Birdie (Reprise))

Last-minute stocking stuffers?

Two new albums debuted this month, definitely of interest to Guaraldi fans.

In addition to this post, both also have been added (after the fact) to this year’s December 1 update of “The Sincerest Form of Flattery,” so you’ll want to check out how they scored.

 

Meanwhile...

 

This first newcomer, I must confess, was a bit of an eyebrow-lift.

 

Welsh musician Amanda Whiting is the first known person in the UK to obtain a Master’s Degree of Jazz in harp ... an achievement that initially seemed an oxymoron.

 

Jazz harp? Seriously?

 

And yet she definitely proves it, with the seasonal and heavily Guaraldi-influenced A Christmas Cwtch. That latter word is Welsh for cuddle, or embrace, which perfectly describes this lovely album.

 

Whiting is backed by the jazz duo of Aidan Thorne, bass; and Mark O’Connor, drums and percussion; their contributions mostly favor quiet shading and comping. Lucia Capellaro also adds soft cello touches during a leisurely reading of “In the Bleak Midwinter.”

 

Whiting opens and closes her album with fleeting solo riffs on “Santa Claus Is Coming to Town,” cleverly subtitled (respectively) “The Night Before” and “Has He Been?” The album’s quieter tunes are highlighted by her contemplative improv bridges, as heard in the moody, mysterious “Sugarplum”; a sweet and wistful handling of the Peanuts “Happiness Theme”; and a solemn arrangement of Bill Evans’ “Peace Piece.”

 

Whiting borrows Guaraldi’s familiar arrangements for “The Christmas Song,” “Christmas Time Is Here,” “Skating” and “O Christmas Tree.” The latter opens with solo harp — just like Guaraldi’s solo piano — and then Thorne and O’Connor kick things into a nice, mid-tempo swing. And if you still doubt a harp’s ability to fit in this environment, pay attention to Whiting’s jazz chops during the improv bridge.

 

She’s equally feisty during a vibrant run at Guaraldi’s “Christmas Is Coming,” which boasts cool walking bass; and the appropriately brisk handling of “Skating,” where her harp cascades evoke snowfall just as successfully as Guaraldi’s keyboard runs. The latter’s swing bridge is particularly cool, as also is the case with the lengthy trio improv bridge in “We Three Kings.”

 

The occasionally sassy chops aside, this is primarily “pretty jazz,” meant to be enjoyed during the quiet shank of an evening, perhaps while imbibing a final glass of eggnog after a boisterous party. But whatever descriptor is employed, this album definitely belongs in everybody’s collection of holiday music.

 

I can’t say the same of the next one.

 

The Commercialists — a Wisconsin-based trio consisting of Anthony Deutsch, piano; Clay Schaub, bass; and Patrick Morrow, drums — is one of many regional U.S. combos that have brightened the holiday season with annual performances of Guaraldi’s music from A Charlie Brown Christmas. Deutsch and his mates have been a popular seasonal draw at numerous venues for slightly more than a decade, and the just-released A Charlie Brown Christmas: Live at The Jazz Estate was recorded at that club on December 22, 2023.

Deutsch is a firecracker pianist with serious chops, best showcased on his trio’s covers of “Linus and Lucy” and “Skating.” But that’s getting ahead of things; the album (appropriately) opens with a Guaraldi-esque arrangement of “O Tannenbaum,” beginning with quiet solo piano and then building to a gentle trio number that grants Schaub a lovely bass solo. “My Little Drum” is next, again sounding like Guaraldi, until Deutsch strays into fresh territory with a vibrant keyboard bridge that offers hints of the familiar melody. 

 

“Christmas Time Is Here” and a peppy “Linus and Lucy” are equally engaging. “Skating” opens with a solid waltz beat, and Deutsch’s keyboard cascades sparkle; the lengthy keyboard bridge improv is backed by feisty walking bass, as the tempo increases ... then everybody brings the tune home.

 

Alas, this album subsequently goes off the rails.

 

After introducing the melody in “Christmas Is Coming” (mislabeled on the CD jacket), Deutsch and Schaub wander through a long, increasingly tedious bridge that shoots into the outer stratosphere. A mélange of “The Wassail Song” and “The Christmas Song” begins as Deutsch vocalizes the first tune in overly melodramatic fashion, after which he slides into “Christmas Song” with exaggerated pauses. The sidemen enter, with Schaub’s bass handling a bridge against Deutsch’s irritating, Keith Jarrett-style moaning and mumbling. At just a few seconds shy of 9 minutes, the band’s handling of this medley is beyond self-indulgent.

 

But Deutsch isn’t finished. He also talks/sings/mumbles his way through an equally lamentable reading of “Santa Claus Is Coming to Town,” which might have made the Jolly Red Elf skip this town entirely.

 

The album concludes with a “surprise” bonus track, as Deutsch leads the venue patrons through a group sing-along of “Hark, the Herald Angels Sings,” the way A Charlie Brown Christmas concluded. I’m sure this was a sweet touch in person ... but it doesn’t quite work as an album finale.

 

All told, uneven at best.

The sincerest form of flattery: 2024 update

This post originally appeared back in December 2012, and was updated in 2016 and 2019. Although it deserves a fresh update this year — thanks to nine new entries! — adding to the original post wouldn't call attention to the enhanced information; there's also no reason newer readers would know anything about it. Ergo, a "repeat performance" with additional material. The sequence is chronological, and the new entries are bolded. Enjoy!

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While writing the final chapter of my book on Guaraldi, when it came time to briefly mention the unusual phenomenon of contemporary musicians who’ve chosen to cover the entire Charlie Brown Christmas score, I paused long enough to wonder whether this has happened very often.

Granted, jazz is a genre that encourages such behavior; consider the number of folks who’ve put their own stamp on, say, Miles Davis’ “All Blues.” But covering an entire album? Surely, that must be unusual.

And, indeed, it is ... but, by a curious coincidence, one of my other favorite jazz albums — also a TV score — has garnered the same attention: Henry Mancini’s iconic soundtrack for Peter Gunn. The series ran for three seasons, from September 1958 through September 1961, and Mancini produced two albums: The Music from Peter Gunn (1958) and More Music from Peter Gunn (1959).

To say that Mancini’s swingin’ themes made a splash would be an understatement. The first album reached No. 1 on Billboard’s Pop LP Chart, and suddenly everybody wanted a piece of the action. All sorts of folks covered the groovin' title theme, with Ray Anthony's version spending 17 weeks on the Billboard Hot 100 chart between January 5 and April 27, 1959; it peaked at No. 8 the week of March 2.

Ted Nash, Maxwell Davis and Pete Candoli had released the first cover album, titled simply Peter Gunn, the year before; Nash, Pete and Conte Candoli, calling themselves the Soundstage All Stars, followed with More Peter Gunn in 1959. Drummer Shelly Manne & His Men also released two albums in 1959: Play Peter Gunn and Son of Gunn. The Joe Wilder Quartet joined the fun in 1959, with Jazz from Peter Gunn; Ray Ellis and his Orchestra followed in 1960, with The Best of Peter Gunn. Manne & His Men returned to the well in 1967, with the outré Jazz Gunn (a little too far out for my taste, but that's just one vote).

It’s simple, really: When listeners really, truly love a particular score, they can’t get enough of it. Leonard Bernstein’s music for West Side Story is another good example; I couldn’t begin to tabulate all the jazz cover versions that album generated.

We therefore shouldn’t be surprised that Guaraldi’s beloved Christmas album has received the same treatment, and increasingly more often as time has passed.

But are they any good?

In most cases, yes, and well worth your time and money. And since this is the holiday season, it seems an appropriate time to discuss them all.

But let’s make it a bit more fun, and score the contestants according to my own whimsical parameters. Points therefore will be awarded for...

1) Covering all four of Guaraldi’s original tunes: “Christmas Time Is Here,” “Christmas Is Coming,” “Skating” and “Linus and Lucy” (5 points each, for a total of 20);

2) Covering all five of the traditional Christmas songs that Guaraldi arranged and included on the album: “O Tannenbaum,” “What Child Is This, (aka Greensleeves)” “My Little Drum (aka The Little Drummer Boy),” “The Christmas Song” and “Hark, the Herald Angels Sing” (5 points each, for a total of 25);

3) Plus covering Beethoven’s “Für Elise” (25 point bonus);

4) And presenting them in the same album sequence (50 point bonus).

Fresh jazz covers of additional Christmas songs are nice, but count neither toward nor against the total score. Additional Guaraldi tunes also are welcome, and — again — count neither toward nor against the total score.

Finally, 10 points will be subtracted for unimaginatively calling the album A Charlie Brown Christmas, because that’s confusing. At the very least, the artist(s) in question should give their work some sort of original title.

Please note, though: The final tally applies solely to how faithful the cover elements are, and in no way reflects the musicality present. Jim Martinez’s album may score low in the “perfect cover” department, but it’s one of my favorites on this list.

Onward!

A Jolly Guaraldi Holiday 2024

As Charlie Brown would say, Good grief!

Talk about a growth industry...

By mid-December last year, this annual round-up of Guaraldi-themed concerts had grown to an astonishing length, with a whopping 171 entries — several of which cited multiple bookings for the given group — which was a massive jump over 2022. I expected some increase, given that Covid fears had eased ... but I sure wasn't prepared for an explosion of such magnitude.

Will it happen again this year?

Too soon to tell, since fresh bookings continue to be announced throughout the first half of December.

Call this a good start, then; we've already covered 37 American states, four Canadian provinces and two venues in the UK (London and Dublin). And I'm sure groups in some of the remaining 13 states are joining in the fun; I simply haven't heard about them yet.

I first traced the history and growth of this delightful annual tradition back in 2012, with a modest schedule that now seems quaint. This year's post will serve as a clearinghouse for any and all 2024 concerts that come to my attention. As always, I'll add to this schedule as new information becomes available, so you'll want to check back frequently. New entries and listings will be tagged as UPDATES. 

Anybody with information about a show (or shows) not listed here, is encouraged to submit the information in a comment; please be as detailed as possible. Such comments will not be published, but the show(s) will be added to the roster.

Let's start with mainstay groups with busy touring schedules:

• The Chris White Trio has become quite serious about honoring Guaraldi's holiday-themed Peanuts music. During the next month, White (on piano) will work with bassists Sean Jacobi, Mike Benning, Joe Policastro and Alex Austin; and drummers Ryan Jacobi, Kurt Lubbe, Dave Williams, Darren Scorza and Joe Adamik. The trio began this season back on Sunday, October 29, with the first of two performances of the music from It's the Great Pumpkin, Charlie Brown, at jazz clubs in Chicago, Illinois. One of those, Winter's Jazz Club, will host the trio's one-night tribute to the music from A Charlie Brown Thanksgiving on Wednesday, November 27. The group's full-schedule Charlie Brown Christmas shows (dozens!) will kick off Saturday, November 30, in Arlington, Illinois, with additional performances at numerous Illinois venues — and one night in Michigan — concluding Sunday, December 22, once again at Winter's. Details.

• Popular jazz pianist David Benoit traditionally headlines a concert tour of his Christmas Tribute to Charlie Brown each December. This year's schedule — which again features vocalist Courtney Fortune — kicks off Friday, November 29, in Hollywood, California, with subsequent stops in New York, Massachusetts, Rhode Island, New Jersey, Arizona, additional California venues, and concludes December 19-22, at Dimitriou's Jazz Alley in Seattle, Washington. Check his website for details.

• The Ornaments — Jen Gunderman, piano; Martin Lynds, bass; and James Haggaerty, drums — will be joined by special guest soloists for their 19th annual performances of music from A Charlie Brown Christmas during a busy schedule that runs from December 14-22: two shows Saturday, December 14, at the Temple Theatre in Portland, Tennessee; and 12 shows Tuesday through Sunday, December 17-22, at the Eastside Bowl, in Nashville, Tennesee. Details. And do check out their 2011 live album.

• Doc Watkins and his Orchestra will begin their month-long Christmas in Jazz tributes to the music from A Charlie Brown Christmas at San Antonio's JazzTX, Texas, on Friday, November 29. Upcoming shows include November 30 and December 5-8, 10, 12-14 and 20-22. Details. They also scheduled a December 19 performance at the Tobin Center for the Performing Arts, also in San Antonio. Details. The icing on the cake: Watkins' terrific 2022 album, The Music of A Charlie Brown Christmas; do check it out!

• The Eric Byrd Trio — Byrd, piano and vocals; Bhagwan Khalsa, acoustic bass; and Alphonso Young Jr., drums and percussion — has made a cottage industry of Guaraldi's Charlie Brown Christmas music, having thus far released two cover albums: a 2009 studio project, and a 2021 live performance. Both are available here. Byrd's combo begins its annual run on Saturday, November 30, in Maryland, with numerous subsequent performances in that state and Virginia, concluding Saturday, December 21. Details.

• The Heather Pierson Trio — Pierson, piano; Shawn Nadeau, bass; and Craig Bryan, drums — will began an ambition Charlie Brown Christmas tour on Saturday, November 30, in Jaffrey, New Hampshire. Subsequent stops will include venues in that state, Massachusetts, Connecticut and Maine, concluding on Sunday, December 22, in Waldoboro, Maine. Details.