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).
Commentary, discussions and random thoughts about San Francisco-born jazz pianist Vince Guaraldi, beloved by many — including those who recognize his music, but not his name — and affectionately known as Dr. Funk
Monday, December 22, 2025
The Sincerest Form of Flattery: 2025 Update
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).
Sunday, November 16, 2025
A Jolly Guaraldi Holiday 2025
Monday, March 24, 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.
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| Seward McCain and Vince Guaraldi at Butterfield's circa 1974-76 |
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!
Sunday, December 1, 2024
The sincerest form of flattery: 2024 update
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).
Wednesday, November 20, 2024
A Jolly Guaraldi Holiday 2024
Monday, November 20, 2023
A Jolly Guaraldi Holiday 2023
It's time once again for this annual round-up of Guaraldi-themed concerts taking place between now and the end of the year, most of which (of course!) are tied in to his music from A Charlie Brown Christmas.
The 2020 and '21 post-Covid slow-down definitely is behind us, since last year's impressive roster of performances matched pre-pandemic numbers. Some patrons and musicians remain cautious, and likely will be masked; we must respect folks wary of what seems to have become an annual "holiday infection bump." That said, the shows will go on. Some groups are "fighting back" with impressively lengthy schedules. Indeed, this year's list is much longer than ever before: We've covered 32 American states, five Canadian provinces and one venue in the UK. (And I'm sure groups in the remaining 18 states are joining in the fun; I simply haven't heard about them.)
All that said, schedules still are more fluid than they were, prior to 2020. It's best to keep an eye on the web site(s) of any artist and/or venue that catches your fancy, to learn of any last-minute changes.
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 2023 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.
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, Chris (on piano) will work with bassists Sean Jacobi, Mike Benning and Joe Policastro; and drummers Ryan Jacobi, Kurt Lubbe and Joe Adamik. The trio began this season back on Sunday, October 29, with a one-off performance of the music from It's the Great Pumpkin, Charlie Brown, at Winter's Jazz Club, in Chicago, Illinois. The same venue will host the trio's one-night tribute to the music from A Charlie Brown Thanksgiving on Wednesday, November 22. The group's full-schedule Charlie Brown Christmas shows will kick off Saturday, December 2, in Berwyn, Illinois, with additional performances at numerous Illinois venues, concluding Monday, December 18, at Evanston's MSpace. Details.
• Doc Watkins and his Orchestra began their month-long Christmas in Jazz tributes to the music from A Charlie Brown Christmas at San Antonio's JazzTX, Texas, on Friday, November 24. Upcoming shows include November 25, November 30-December 2, and December 5, 8-9, 14-16, 19 and 23. Details. They also scheduled a December 22 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 began its annual run on Sunday, November 26, in Washington, D.C., with subsequent performances in Virginia and Maryland, concluding Saturday, December 23, at the Weinberg Center for the Arts, in Frederick, Maryland. Details.
• The Heather Pierson Trio — Pierson, piano; Shawn Nadeau, bass; and Craig Bryan, drums — will began an ambition Charlie Brown Christmas tour on Sunday, November 26, in Hopkinton, Massachusetts. Subsequent stops will include venues in New Hampshire and Maine, concluding on Sunday, December 24, in Bethel, Maine. Details.
• The Eric Mintel Quartet — Mintel, piano; Nelson Hill, sax; Jack Hegyi, bass; and Dave Mohn, drums — also has a busy schedule of Charlie Brown Holiday Jazz shows starting Wednesday, November 29, in Worcester, Massachusetts, with additional shows throughout New Jersey, Connecticut, New Hampshire and Pennsylvania, concluding Thursday, December 21, in Clinton, New Jersey. Details.
• The Cartoon Christmas Trio — Jeff Knoettner, piano; Rob Swanson, double bass; and Larry Marshall, drums — performs music from A Charlie Brown Christmas, along with tunes from other animated holiday shows, such as Frosty the Snowman and How the Grinch Stole Christmas. (Their 2008 album is a kick; check it out.) They have an extremely busy schedule that kicks off November 30 in Wilmington, Delaware, with subsequent stops through December 23 in Delaware, Pennsylvania and New Jersey. 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 Sunday, December 3, in Saratoga, California, with subsequent stops in New Jersey, Massachusetts, Arizona and additional California venues, and concludes Thursday-Saturday, December 21-23, 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 18th annual performances of music from A Charlie Brown Christmas during a busy schedule that runs from December 16-23: two shows Saturday, December 16, at the Temple Theatre in Portland, Tennessee; and 13 shows (!) Monday through Saturday, December 18-23, at the Eastside Bowl, in Nashville, Tennesee. Details.
• The Annie Booth Trio — Booth, piano; Patrick McDevitt, bass; and Alejandro Castaño, drums — will be joined by guest vocalists Bailey Hinkley Grogan, Jenna McLean and Marion Powers, for their 10th annual Charlie Brown Christmas concerts during 13 shows (!) Monday through Sunday, December 18-24, at Dazzle, in Denver, Colorado. Details.
Sunday, November 27, 2022
A jolly Guaraldi holiday 2022
Tuesday, October 11, 2022
Playing for Peanuts
Sunday afternoon was way too much fun.
Constant Companion and I were among the full house present at Santa Rosa’s Luther Burbank Center for the Arts this past Sunday, October 9, for the world premiere of Playing for Peanuts: The Music of Vince Guaraldi.
Jazz pianist David Benoit, well regarded as the primo torchbearer for Guaraldi’s Peanuts legacy, along with his trio — Roberto Vally, bass; and Dan Schnelle, drums — were joined by the impressively large Santa Rosa Symphony. (Honestly, I’m not quite sure how all those musicians fit onto the comparatively small stage.) The Symphony was directed by Francesco Lecce-Chong, although Michael Berkowitz earned the spotlight as Principal Pops Conductor (beginning his final season with the Symphony).
Berkowitz was an ideal choice as conductor; he’s almost as animated as Bill Melendez’s TV special renditions of Charlie Brown and his friends.
This ambitious project has been a collaborative effort, for the past couple of years, between Benoit, Sean Mendelson and Jason Mendelson. Designing, developing and fine-tuning these new orchestrations of Guaraldi’s music — all arranged by Benoit — kept all three occupied while they were sequestered by Covid.
Their approach was quite clever: blending Guaraldi’s iconic themes — along with equally delightful, but lesser-known score cues — into themed “medleys.” The long-term goal is to take these new orchestrations “on the road,” and also to make them available for orchestral units across the United States (and anywhere else in the world). For the most part, the medley sequencing is immaterial, as is the decision on how many to include in a given performance by an ensemble of any size. Two, three or four medleys could serve as one-third of an orchestral performance; alternatively, many could be blended to make a two-hour Peanuts Guaraldi extravaganza.
Sunday’s Santa Rosa performance, at slightly more than an hour, came somewhere in the middle.


















