Vince on the Web: 2024 update

This topic hasn't been revisited since 2014, and it's definitely time for another look. Rather than link back to that earlier post, I'll simply repeat, modify and update it here.

Guaraldi fans are lucky; all of the albums under his own name have remained in print and been readily available since their initial release, with new ones arriving rapidly these days. 

But what about material that saw limited commercial release, or none at all?

Quite a few nuggets exist, thanks to the Web. Some are housed in authorized online archives that share them with the general public; others are bootlegs that (shall we say) lack that level of legitimacy, but nonetheless can be enjoyed by folks who haven't yet discovered them.

Onward!

Our first stop is SugarMegs Audio, "where live music lives since 1996." The site hosts a massive archive of more than 120,000 concert recordings, in whole or in part. Most are rock/pop, but you'll find other things as well. (One can get lost in this site for days...) On the homepage, scroll down to where THE STREAMING AUDIO COLLECTION is headlined, then click on the "database interface" link below. That'll bring up a page with a small white SEARCH box on the left. Enter the name "Guaraldi," and — as these words are typed — you'll get 15 hits. Most are other performers covering one or more Guaraldi songs, but two entries actually feature Vince. From the top, they are:

• A shared billing with no less than Carlos Santana, during a benefit for the College of Marin in Kentfield, California, on the afternoon of October 7, 1972. The band also included Coke and Pete Escovedo; other personnel, if present, remain unnamed. Although numerous sources agree that the entire show was broadcast by a local radio station — some claim KPFA, others KSAN — only two fragments seem to have survived: a portion of a jam running just shy of 7 minutes, and a second, longer fragment from an extended jam version of "Evil Ways," which clocks in at about 15:38. You'll find them both here, stitched together as a single file. Guaraldi's electric keyboard can be heard quite clearly throughout both fragments, although the melodic quality of his contribution is open to debate. Mostly, he delivers the extemporaneous riffs that characterized his occasional rock-inflected appearances at the Matrix, during this part of his career. This file's nice bonus, however, is the DJ who speaks over the music at roughly 20:40, to identify Santana on guitar, and Guaraldi on electric piano.

• The massive jam during the final night of the five-day farewell party for San Francisco's Fillmore West, which ran June 30-July 4, 1971. Guaraldi was part of the final evening's "San Francisco Musicians Jam," which included Van Morrison, the Tower of Power horn section, Quicksilver Messenger Service, Cold Blood, Hot Tuna, the Loading Zone and even rock impresario Bill Graham, on cowbell. The entry labeled "FillmoreWestFinalNightJams1971" focuses on that set. Guaraldi played electric organ. You'll be hard-pressed to hear him over the chaos, but you're welcome to try!

Archival gold

Hang onto your hats; this one is huge.

The first tantalizing seed was planted at some point in 2009, during the research phase of my Guaraldi bio (a few years before I began crafting the actual text). One of San Francisco Chronicle music critic Ralph Gleason’s columns — on July 16, 1964 — briefly mentioned that Guaraldi and Bola Sete soon would record some short programs, known as “fills,” for National Educational Television (NET) member stations. That’s all I would know for more than a decade, despite extensive investigation.

 

In early 2011, I began what quickly became a warm and friendly email and phone correspondence with a fellow Guaraldi fan named Doug, who worked (still works) on Capitol Hill in Washington, D.C. His proximity to the Library of Congress — and his willingness to lend his investigative talents — proved quite helpful, on numerous occasions. In mid-June, I mentioned the NET fills, wondering whether there might be any reference to them in the Library of Congress (LoC), and/or whether any leads might point to former NET (now PBS) stations possessing additional information … or, better yet, copies of old tapes. During the next several years — to my grateful surprise, when he later detailed this effort — he exchanged more than 180 emails (!) with “various and sundry folks” while trying to confirm existence and contents. A few individuals provided encouragement and direction, although — alas — every potential lead went nowhere.

 

My Guaraldi bio was published in April 2012. The filmography (Appendix C) includes a listing for the NET fills, along with a frustrating final sentence noting that “no tapes have been found thus far.”

 

And that’s where the matter remained, for nearly a decade. I re-checked the LoC databases every year or so, to no avail.

 

Then, in early May 2020, I stumbled upon the LoC’s recently added NET Microfiche Special Collection … and the picture rapidly expanded. I learned that the Guaraldi/Sete fills had been made specifically to accompany an imported 13-episode Granada-TV anthology series titled Stories of Guy de Maupassant; I even was able to determine which episodes were attached to Guaraldi and/or Sete performances. (The full story of that discovery is detailed in this earlier blog post.)

An appeal for Jerry Granelli

“Jazz isn’t a style; it’s a way of life.”

The speaker is Jerry Granelli, evoking singer/activist Nina Simone, who famously said, “Jazz is not just music; it’s a way of life, it’s a way of being, a way of thinking.”

 

Granelli makes this comment toward the beginning of Colin MacKenzie’s 2002 documentary, Jerry Granelli: In the Moment. The 51-minute film can be viewed at Granelli’s richly informative web site, which traces the deservedly famous drummer’s impressively varied career.

 

Right now, Jerry could use our help.

 

Just before his 80th birthday, this past December, Granelli suffered a near-fatal case of internal bleeding while at home in Halifax, Nova Scotia. He spent the next two months in a hospital ICU, followed by almost two more months in hospital, while being stabilized. He finally was able to return home a few weeks ago, but he now faces six to eight months of recovery that will involve extensive physical therapy, at-home caregivers and special intravenous feedings.

 

It’ll be expensive, and his family has set up a GoFundMe campaign. Details are here.

 

Regular visitors to this blog are quite familiar with Granelli, as the drummer in the third of Vince Guaraldi’s early great trios. Alongside bassist Fred Marshall, Granelli can be heard on Vince Guaraldi/Bola Sete/And Friends, The Latin Side of Vince Guaraldi, From All Sides, portions of The Eclectic Vince Guaraldi, and the soundtrack to A Charlie Brown Christmas. Granelli can be seen in the Jazz Casual episode that features Guaraldi and Sete, which debuted September 25, 1963 (the audio of which was released in 2001 by Koch Jazz). Granelli also gets considerable screen time in 1963’s Anatomy of a Hit, when he anonymously stands in for Colin Bailey, during a Fantasy studio sequence where Guaraldi pretends to record “Cast Your Fate to the Wind” for the first time.

Marshall already was working with Guaraldi when Granelli joined the trio in early 1963 — replacing Bailey — during a February 21-23 gig at a Sacramento venue dubbed The Berry Patch. They remained together until the end of May 1965, which also encompassed most of the time that Sete transformed the combo into a quartet. And although Granelli then became a member of Denny Zeitlin’s trio for the next few years, he continued to work occasionally alongside Guaraldi until the end of the 1960s; Granelli even did some of the drum work for 1969’s big-screen Peanuts film, A Boy Named Charlie Brown.

 

Granelli’s approach to his craft was quite Zen; as the years passed, he would come to think of himself less as “just” a drummer, and more as “an artist.”

 

“The people I really learned from,” he acknowledges, also in MacKenzie’s film, “were the people I was willing to surrender to.”

 

I find it ironic — for a guy who spent the bulk of his later career embracing free jazz, acid jazz, psychedelic and experimental jazz, alongside talents such as Zeitlin, Mose Allison, Bruce Frisell, Ornette Coleman, Jamie Salt and Anthony Braxton — that Granelli’s first lengthy gig was as a member of Guaraldi’s mainstream, gentle bossa nova combo.

 

But hey: We’ve all gotta start somewhere, right?

 

I spent several lengthy sessions with Jerry back in 2010, while preparing for my Guaraldi biography; he was, by far, one of my most articulate and passionate interview subjects. And, much more recently, he chatted with me again — while still hospitalized — to bring me up to date on his more recent activities.

Which, as Canadian fans know, have for the past several years included an annual “Tales of A Charlie Brown Christmas” concert tour each December.

Granelli is one of the very few sidemen still with us, from Guaraldi’s early days. Let’s help ensure that he’ll again be where he belongs: seated at a drum kit, once more rejoicing in his “lust for being on the cutting edge.” 

"Star Song" — A melody tender

I've long fancied myself a thorough, creative and persistent (stubborn?) researcher, and I became even better during the three years spent "in the tank" while accumulating information for my book, before I wrote a single word. Later, once the actual writing began, I'd often get distracted by a desire to chase down stray bits of data. Many were found; many others were not. Quite a few anecdotes and possible details had to be removed from the first draft, when absolute verification couldn't be obtained. But the pursuit continues, and I'm confident that some of those stories will — one day — wind up here, in a blog entry.

One of my more vexing chases concerned Guaraldi's original composition, "Star Song," which he debuted on the album Vince Guaraldi, Bola Sete and Friends. In my book, as the tune is discussed, I call it "...a charming little ballad with an intriguing backstory: The pianist composed the melody to the words of a poem that was sent to him by William Siden, a Pacific Gas & Electric employee."

You probably know where this is going.

I moved Heaven and Earth to find that poem, with absolutely no luck. I did track down a few other poems by Siden, which had been published in the late 1950s in various women's magazines — McCall's and the like — but no trace of anything called "Star Song." I finally had to concede defeat, with considerable reluctance.

Like I said, I'm a savvy researcher ... but I cheerfully tip my hat to others who are just as good, if not better. Indeed, I'm deeply grateful to them.

One such fellow is Doug Anderson, whom I have yet to meet in person, but who has become a treasured correspondent, valued contributor and — without question — good friend. He first got in touch via e-mail, like numerous other Guaraldi fans with whom I have exchanged notes over the years. Unlike most such folks, though, this bond deepened quickly; Doug's interest clearly wasn't casual. Once he found out that I was working on a book, he immediately offered to help in any way possible. His research skills proved beneficial on many occasions, to say the least; he helped locate numerous things that had eluded me, and he well deserves the acknowledgment he received in the book.

Like me, as well, he recognizes that some searches never end ... until they're successful.

I'll turn the rest of this post over to Doug:

************

With a lilting melody that lingers in the memory, "Star Song" is one of Vince Guaraldi's most charming compositions. Although it didn't see action as a commercial hit, the song was a signature Guaraldi tune in the early 1960s, and a favorite of no less than jazz great Miles Davis.  (See page 118 of Vince Guaraldi at the Piano for drummer Jerry Granelli’s recollections about the Prince of Darkness being a fan.)

The song, which made its first commercial appearance on the 1964 LP Vince Guaraldi/Bola Sete and Friends, was credited to "Guaraldi-Siden," the only such entry in the Guaraldi corpus.

The Siden of that pairing was William "Bill" Siden, who described himself as "a public relations man for Pacific Gas & Electric."  In addition to his PG&E gig, he was active in the San Francisco Chamber of Commerce and a founding member of the Steering Committee for San Francisco Beautification. Siden was a committed participant in the greening of San Francisco, and he promoted tree-planting in developing areas throughout California, as a community development consultant. He also was described in the early '60s as a "Bay Area writer with a growing national reputation," and he co-authored a book on the art of writing business letters.

He was, as well, a poet.  And it was in that role that Bill Siden sent Vince Guaraldi the verse that inspired “Star Song.”

In the liner notes to Vince Guaraldi/Bola Sete and Friends, Guaraldi explained: "I got the melody from the lyrics.... I didn't change anything. I wrote music right to what he had there in the poem, and it fit all the way down."  San Francisco Chronicle jazz columnist Ralph Gleason also emphasized the lyric-driven composition in his liner notes for the song's second appearance, on The Latin Side of Vince Guaraldi, describing it as "another Vince original, a hauntingly beautiful melody which he wrote to fit the words!"

But, while Guaraldi and Gleason both credit the words with catalyzing the song, the words themselves were nowhere to be found: They didn't appear in any liner notes, and a vocal version of the song never was recorded.  As recently as early 2012, Guaraldi biographer (and blog host) Derrick Bang lamented that "Siden's poem, alas, has been lost in the mists of time."

But what was lost has been found.

After persistent archival digging and a number of dead-ends, I finally located Siden's original poem in a 1963 manuscript.  And so, ladies and gentlemen, I am pleased to present William Siden's lyrics for Vince Guaraldi's "Star Song" (punctuated as in the original):

STAR-SONG

Oh, sing me the star-song,

The wonderful star-song

The stars sang the moment we met.

We knew that 'twas for us

The stars sang in chorus

A song we would never forget--

A melody tender,

And filled with such splendor

That time has not faded the glow:

The stars still burn brightly

And sing for us nightly

The star-song they sang long ago.

While shorter and perhaps more generic than I had expected, the poem is a very cool find.  The lyrics do indeed fall easily into place over Vince's lovely melody line, and they constitute the equivalent of a single verse that is repeated at the beginning and end of the song, bookending a delightful stretch of improvisation.

Vince Guaraldi and Bola Sete perform "Star Song" while featured on
an episode of Ralph Gleason's Jazz Casual series, made for
KQED-TV Channel 9 in San Francisco.

To date, four different Guaraldi recordings of "Star Song" have seen commercial release:

·         The August 1963 studio recording with Bola Sete, contained on the Vince Guaraldi/Bola Sete and Friends LP (later re-released on the Vince & Bola CD);

·         The version recorded with Bola Sete in the KQED-TV studio in the summer of 1963, and released in 2001 on the (sadly out-of-print) Jazz Casual: Paul Winter/Bola Sete and Vince Guaraldi CD;

·         The 1963 studio version recorded without Bola, but with an interesting-but-dated string arrangement, and released on The Latin Side of Vince Guaraldi; and

·         A mid-‘60s version recorded with Bola Sete for The Navy Swings recruitment program, released on CD by Vince’s son David (and available at http://www.vinceguaraldi.com).

All four versions are worth tracking down for their variant performances. Give any of them a listen and you, too, will find the stars still burning brightly, still singing nightly the same star-song that they sang long ago.

(Or, in the words of Miles Davis, “Play that song, man!”)

My Guaraldi dog-and-pony show

A short entry today, mostly for the benefit of fans living in and around San Francisco's greater bay area.

I'm giving a presentation about Vince Guaraldi at 3 p.m. this Friday, June 29, at the Charles M. Schulz Museum, 2301 Hardies Lane, Santa Rosa, California. For additional information, call the Museum at (707) 579-4452.


I plan to read a short excerpt from my book and then briefly take the audience through some of the high points in Guaraldi's life and career, accompanied by a multi-media presentation that will include photographs and a few short video clips. The latter should be regarded as strong incentive to join us, because they'll be things almost nobody has seen. Fans have been long aware of the two Jazz Casual episodes Guaraldi starred in, back in the early 1960s, along with the 90-minute film Anatomy of a Hit, all made by his good friend Ralph Gleason. Indeed, many people believe that these three KQED Channel 9 productions are the extent of Guaraldi's appearances on TV or film.


Not so ... and I'll have four clips to share, from sources most folks aren't even aware exist. And no, I'll not spoil the surprise by identifying them here.


If you're in the area, then, and not otherwise occupied this Friday afternoon, take a trip to Santa Rosa. I've also invited all of Guaraldi's former sidemen who are known to still live in the area, along with other of his former associates. I've no idea how many or few will accept that invitation, but the possibility of "special guests" exists.


And if all this isn't reason enough to drop by, consider the broader smile on my face, if I know that at least a few avid Guaraldi fans will be present.