A touch of Thai, jazz-style

July 17 was Vince Guaraldi’s 98th birthday, and — since his first publicized gig was an April 1951 booking at San Francisco’s Cable Car Village, as a member of tenor saxman Chuck Travis’ quartet — this year marks the 75th anniversary of Vince’s professional career.

That was two excellent excuses for the sensational all-Guaraldi set presented Sunday evening, July 19, by pianist Jim Martinez’s Quartet, accompanied by his son, James Martinez, on guitar; Kerry Kashiwagi, on bass; and Scott Gordon, on drums.

 

Jim’s fondness for Guaraldi’s music became evident when his 1994 album — Good Grief! It’s Jim Martinez, complete with a cover image of Snoopy pounding the ivories — included a sassy cover of “Linus and Lucy.” He upped the ante with his 2004 holiday release, A Jim Martinez Jazzy Christmas, which included covers of numerous Guaraldi originals and arrangements from his soundtrack to A Charlie Brown Christmas. Jim and I got to know each other shortly thereafter, and quickly became fast friends (which shouldn’t surprise anybody).

 

One of our most treasured memories came on the evening of June 30, 2012, when I arranged for him to play piano in a quartet that included former Guaraldi sidemen Eddie Duran (guitar), Dean Reilly (bass) and Colin Bailey (drums), during a private concert for the Peanuts Collectors Club. (Full details are here.) Another high point came three years later — August 15, 2015 — when Martinez was joined by bassist Brian Clark and drummer Tim Metz, for a 50th anniversary concert re-enactment of Guaraldi’s Jazz Mass, at San Francisco’s Grace Cathedral, the venue where it debuted back on May 21, 1965. (Full details of that magnificent day can be read here.)

 

Jim and I have collaborated many times since then, and many times Constant Companion and I have simply reveled in watching him perform, either as a soloist or with a combo.

 

Even by those aforementioned previous events, Jim was on fire Sunday evening.

 

But before getting to that, the venue deserves special mention: Twin Lotus Thai, a darling little restaurant plunked to one side of an unassuming shopping center in Sacramento’s College Glen neighborhood, just east of Sacramento State University. It opened in 2022 as a dream project by veteran jazz pianist Joe Gilman and his wife, Kai. Gilman’s four-decade career teaching jazz studies — at Sacramento State, American River College and University of the Pacific’s Brubeck Institute — occasionally was interrupted by tours with vibraphonist Bobby Hutcherson, and as part of the Kennedy Center/USIA Jazz Ambassador Program. Call all of that his day job; the restaurant became his nighttime side hustle.

Jim and Joe — the latter a couple years older — have known each other since both took classical piano lessons from Yuriy Oliynyk, before they were teenagers.

The Sincerest Form of Flattery: 2025 Update

This post originally appeared back in December 2012, and was updated in 2016, 2019 and 2024. Since this seems to be an exponentially expanding topic -- and because adding to the original posts wouldn't call attention to the enhanced information, and since newer readers wouldn't know anything about the older versions -- this year brings yet another "repeat performance" with additional material. The sequence is chronological, and the new entries are bolded. Enjoy!

********

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 2025

Vince would be so gob-smacked.

By mid-December of 2023, this annual round-up of Guaraldi-themed concerts had grown to an astonishing 171 entries — several of which cited multiple bookings for the given group — which was a massive jump over 2022. It covered 37 American states, four Canadian provinces and two venues in the UK (London and Dublin).

Last December was a bit more modest, with "only" 142 entries ... but that's still stunning.

Will this year break that total?

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

Thus far, these 148 listings cover 37 American states, five Canadian provinces and one UK venue.

And here's a new aspect to this trend: A few groups each year also have scheduled Charlie Brown Thanksgiving shows. Assuming those prove equally popular, we can expect more of them, moving forward.

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 2025 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:

• Popular jazz pianist David Benoit traditionally headlines a concert tour of his Christmas Tribute to Charlie Brown each December. This year's schedule kicks off Friday, November 28, in Hollywood, California, with subsequent stops in New York, New Jersey, and additional California venues. Check his website for details.

• UPDATE: Drummer Glen Paul and his trio have 16 performances of Guaraldi's music from A Charlie Brown Christmas scheduled from November 28 through December 21 at numerous venues throughout Ontario, Canada. Details.

• The Teri Parker Trio — Parker, piano, Christopher Kettlewell, bass; and Kyle Sullivan, drums — will present the music from A Charlie Brown Christmas at numerous Canadian venues in Ontario, starting November 30 and continuing through December 23. Details.

• The Ocean Avenue Stompers — Joe Gullace, trumpet; Ian Gray, trombone; Mark Masefield and Jeff Kazee, alternating on piano, Cody McCorry, bass; and Cameron Lockwood, drums — have a busy schedule of Charlie Brown Christmas performances beginning on Sunday, November 30 (three shows), at the Alternate Ending Beer Co. in Aberdeen, New Jersey; and concluding Sunday, December 21, at the Sperlak Sculpture Gardens in Cape May, New Jersey, with stops in between in Massachusetts and other New Jersey venues. Details.

• The Ornaments — Jen Gunderman, piano; Martin Lynds, bass; and James Haggaerty, drums — will be joined by special guest soloists for their 20th anniversary performances of music from A Charlie Brown Christmas during a busy schedule that runs from December 7-22: one show Sunday, December 7, at the Grand Ole Opry in Nashville, Tennessee; one show Wednesday, December 10, at the Bend Theater in West Bend, Wisconsin; two shows Saturday, December 13, at the Temple Theater in Portland, Tennesee; and and 13 shows 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 28. Additional shows include November 30 and December 7 and 16-20. Details. They also scheduled a December 13 performance at the Majestic Theater, 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; Will Hazel, 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. Byrd's combo begins its annual run on Sunday, November 30, in Washington, D.C., with subsequent performances in that Maryland and Pennsylvania, concluding Saturday, December 20. Details.

Once more, with feeling!

Holy Communion Blues!

In addition to being a monumental general announcement, this is a shout-out to Guaraldi fans who live in or near Pennsylvania.

Longtime readers of this blog will recall the marvelous summer of 2015, when not one — but two! — 50th anniversary presentations of Vince Guaraldi's Jazz Mass took place: the first, a concert event, in none other than San Francisco's Grace Cathedral; and the second, a worship service, at the First Presbyterian Church of Clarks Summit, Pennsylvania.

The latter was led by Bill Carter, church pastor since 1990 (!), who also — not coincidentally — has impressive keyboard chops, and has long headed his own Presbybop jazz combo. He spent the better part of a year transcribing Guaraldi's Jazz Mass (also detailed in this blog), since the music never had been written down. He also came to San Francisco for the concert version, the highlight of which was his impromptu four-hands keyboard solo with my good buddy Jim Martinez, the driving force behind that Grace Cathedral event.

(I've truly been blessed — since becoming Guaraldi's official biographer — by getting to know some special jazz folks, who've since become cherished friends.)

Well, hang onto your hats, folks ... apparently Bill wasn't satisfied with having overseen a 50th anniversary service; he has just announced a repeat for the 60th anniversay: 9:30 a.m. Sunday, August 31, once again at the First Presbyterian Church, 300 School Street, Clarks Summit, Pennsylvania. Check out the official announcement here.

As was the case a decade ago, the event will begin when I give a brief recitation of how Guaraldi came to write his portion of the Mass, and the not-quite-a-year of rehearsal that took place with the mixed adult/children's choir of St. Paul's Church, in San Rafael, California, back in 1964 and '65.

In anticipation of this diamond anniversary, Bill and I had a delightful chat for WVIA, the local NPR radio station; you can listen to that here.

Needless to say, this will be a banner event, and a terrific way to conclude the summer of 2025. (Pay no attention to the calendar; everybody knows that summer ends after the Labor Day weekend.) 

I look forward to greeting any Guaraldi fans ambitious enough to make the journey.

And of course I'll give a detailed report, after the fact.

Vince would be gob-smacked to know, after all these years, that his Jazz Mass continues to resonate to such a degree. 

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!

********

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.

Plenty of respect!

Following up on my January 24 post, I issued an open request for help in creating a list of jazz artists who've recorded a) original tribute compositions honoring Guaraldi; and b) covers of Guaraldi compositions other than "Cast Your Fate to the Wind" and the Charlie Brown Christmas quartet ("Linus and Lucy," "My Little Drum," "Christmas Is Coming" and "Christmas Time Is Here"). 

Covers of the Christmas album are a separate topic, initially addressed here, with a late 2023 update here.

I also asked that David Benoit and George Winston not be included, since both are well known for having released several full albums of Guaraldi covers. (In other words, they're too obvious!) That said, in order to be complete:

David Benoit

• Here's to You, Charlie Brown: 50 Great Years (2000)

• 40 Years: A Charlie Brown Christmas (2005)

• Jazz for Peanuts (2008)

• It's a David Benoit Christmas (2020)

George Winston

• Linus & Lucy: The Music of Vince Guaraldi, Vol. 1 (1996)

• Love Will Come: The Music of Vince Guaraldi, Vol. 2 (2010)

The request for assistance proved helpful. Scott, Chad and Ryo each supplied several suggestions; I also got more creative with Web searches, thanks to iTunes, Spotify and discogs. Then there's Paul, who was inspired by my post to establish a dynamic Wikipedia database that does include the five popular tunes I left out above. (Obviously, he has far too much free time on his hands!) He and I also traded information.

My result follows, and — given that new covers have been popping up every year — this list continues to grow. (The most recent update was early August 2026.) Listenable versions of most entries can be found somewhere on the Web, but others are quite obscure.

Let me begin by citing other full (or partial) tribute albums, a few of which are repeats from my earlier post. French horn player Aaron Brask's 2010 album, The Guaraldi Sessions, has 20 covers. (I've not included his efforts in the following list; just buy the album!) Jazz pianist Terry Disley and his quartet cover five tunes on their 2011 album, Brubeck vs. Guaraldi. Former Guaraldi drummer Jerry Granelli has three covers on his 2020 album, Plays Vince Guaraldi and Mose Allison.

Despite its somewhat misleading title, the Ku Il Oh Quartet's 2011 album, Holiday Songs Volume One, actually is entirely devoted to Guaraldi covers and fresh arrangements of material from A Charlie Brown Christmas. And speaking of misleading, the quartet known as Jake — Tony Mason, piano; Steve Rashid, horn; Gregg Emery, bass; and Hugh Barlow, drums — released a 1984 LP titled A Tribute to Evans & Guaraldi, but only two of its 10 tracks are Guaraldi tunes, both from the Christmas special. On the other hand, pianist Bruce Polson's 1997 album, The Music of Vince Guaraldi, features an even dozen of Vince's songs. (I have included those in the list below, because you'll never find the album; it's woefully out of print.)

One final caveat: I make no comments regarding quality here. Some of these tracks are sensational; some are ... well, not such a much. Most fall somewhere in between. Accept this as the thrill of discovery.

Let's start with new compositions that pay tribute to Vince:

• “Frisco (Dedicated to Vince Guaraldi),” Jim Emmons, 88

• “Guaraldi,” Bill Heller & Jeff Kashiwa, Find the Way

• “Have Yourself a Vince Guaraldi Christmas,” John Stowell/Michael Zilber Quartet, Basement Blues

• "In Tiburon," Van Morrison, Keep Me Singing

• “Mountain View,” John Zorn, Alhambra Love Songs

• “Peanuts (An Ode to Vince Guaraldi),” Robert S. Bradley & Collin Oliver, Identity Crisis

• "Thank You Mr. Guaraldi," Electric Dreams (aka Josiah Osborne)

• “Vince Guaraldi,” Diane Monroe and Tony Miceli, Alone Together

• “Waltz for Vince,” Jim Martinez, Good Grief! It’s Still Jim Martinez

The sincerest form of flattery: 2019 update

This post originally appeared back in December 2012, and was updated in 2016. Although it deserves a fresh update this year — thanks to two 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. Enjoy!

********

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 actually 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).

(If I’ve missed any others, please let me know.)

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.

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!

Eddie Duran: Guitar maestro

My fondest personal memory of jazz guitarist Eddie Duran came early in the summer of 2012. The Gods smiled upon me; I was able to hire him, drummer Colin Bailey, bassist Dean Reilly and pianist Jim Martinez for a performance at that year’s Beaglefest (an annual convention for fans of Charles M. Schulz and Peanuts).

Eddie Duran, "in the moment" during a private concert
June 30, 2012. (The arm at upper left belongs to
drummer Colin Bailey.)

It was a reunion of Vince Guaraldi’s former sidemen, from his “classic” early trios: Eddie and Dean, at Vince’s side for a lengthy gig at San Francisco’s hungry i nightclub, and while recording his first two Fantasy Records albums; and Colin, who with bassist Monty Budwig put Vince on the map with the release of 1962’s Jazz Impressions of Black Orpheus and its breakout single, “Cast Your Fate to the Wind.” Jim, the (comparatively) young pianist who stood in for Vince that evening, likely couldn’t believe his good fortune. The appreciative audience definitely couldn’t believe it, as this quartet — never before having performed together, or even rehearsed — breezily powered through a couple hours of Guaraldi jazz classics. (Including, of course, plenty of Peanuts melodies.)

The three Guaraldi veterans were the epitome of graciousness. They joined us earlier in the evening for a banquet dinner, sitting at different tables in order to interact with as many attendees as possible. Once they started playing, a few hours later, they were wholly in the groove. As one would expect, distinct personalities emerged; Colin and Dean, all smiles, were quick with an occasional quip between — and sometimes even during — numbers. But Eddie was all business. his gaze was wholly absorbed by his guitar, particularly during his positively magical solos.

Several years earlier, he’d been one of my favorite interview subjects, while assembling the wealth of material for my Guaraldi biography. Eddie had a terrific memory for detail, and he vividly painted “word picture” descriptions of the hungry i environment, and the hilariously Spartan, spit-and-bailing-wire simplicity of the Fantasy recording sessions, circa mid-1950s. “[The first album] was recorded in the garage of a building south of Market. They didn’t do any extensive preparation for sound-proofing; it was just a bare garage … although they did spread some carpets on the floor.”

Eddie spun wonderful anecdotes about club gigs with Vince, several of which were much too coarse to have made it into my book. (I rapidly came to the conclusion that jazz musicians tell the best stories … and also the filthiest!) Eddie enjoyed a remarkably prolific career, with and beyond Vince, as this San Francisco Chronicle article recounts briefly. (Additional details, although still woefully incomplete, can be found at Wikipedia.)

Eddie was lucky enough to make a successful career out of doing what he loved, and he maintained a performance schedule right up to the very end. We lost him November 22, 94 years young. I like to think this was merely a change of venue, and that — somewhere, somehow — he has been reunited with Vince, and they’re both enjoying the most amazing jam sessions with all manner of other jazz cats.

A Jolly Guaraldi Holiday 2019

My goodness.

It feels like these annual productions are multiplying exponentially.

Which means that it's time once again for this annual round-up of the many 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.

Numerous bands and individuals across the United States —- and elsewhere! -- clearly have turned this into a cottage industry. Goodness, some of them even have expanded into Halloween- and Thanksgiving-themed concerts, featuring music from those respective Peanuts TV specials. High-fives to all of them, for keeping Guaraldi's musical torch aloft! I traced the history and growth of this delightful 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  2019 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.

As has become a tradition, the most ambitious tour comes from Concord recording artist David Benoit, who once again is taking his holiday show on the road. Many of the dates will find Benoit once again accompanied by vocalist Sara Gazarek. Their schedule kicks off November 29 in Rockport Massachusetts; and concludes December 22 in San Juan Capistrano, California, with stops along the way in Pennsylvania, Arizona, Colorado, Hawaii, Washington and Florida. 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 he and his team work with a children's choir that is local to each stop. Check his web site for details.

Our Canadian neighbors once again can 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 of A Charlie Brown Christmas with his own trio: Simon Fisk (bass) and Chris Gestrin (piano). He began this annual celebration with a few shows in 2013, and the results were quite popular (no surprise there). You can catch him this year on Thursday, November 28, at the Yukon Arts Centre in Whitehorse (details); Saturday, November 30, at Calgary's Bella Concert Hall (details); Thursday, December 5, at Ottawa's Dominion-Chalmers United Church (details); Wednesday and Thursday, December 11-12, at Burnaby, BC's James Cowan Theatre (details); and Sunday, December 15, at Halifax's Spatz Theatre (details).

Swinging holiday Juice

Way back in the day — seven years before A Charlie Brown Christmas debuted — Henry Mancini’s groundbreaking jazz soundtrack album for the TV series Peter Gunn was quite the rage. It spent well over a year on Billboard’s Top LPs chart, won two Grammy Awards — Album of the Year, and Best Arrangement — and prompted Mancini to release a sequel, More Music from Peter Gunn, later that same year. Both LPs were so popular that they spawned a unique cottage industry, when other jazz stars — most notably Shelly Manne, Ted Nash, Joe Wilder, Ray Ellis and Pete Candoli — covered the entire album.

Flash forward half a century, and Guaraldi’s equally iconic 1965 soundtrack for A Charlie Brown Christmas has garnered the same attention. It actually started with Cyrus Chestnut’s 2000 album of the same title, and more recently has included releases by the Eric Byrd Trio (2009) and The Ornaments (2011). Jazz pianists David Benoit and Jim Martinez also have covered the entire album over time, although not all at once, each taking several releases to do so.

Additional examples can be found in this earlier blog post.

To this group we now can add jazz pianist Jose “Juicy” Gonzales, who has presented Charlie Brown Christmas concerts for several years now, in his home town of Seattle, Washington.

Linus and Juicy: A Holiday Album covers almost all of Guaraldi’s score — “What Child Is This”/“Greensleeves” was left behind — along with some apt extras. The versatile Gonzales is ably supported by bassist Michael Marcus and drummer Matt Jorgensen, both of whom get plenty of chances to demonstrate their own chops. The album opens with a ferocious double-time reading of “White Christmas” that positively roars, and offers lively keyboard and bass solos: just a taste of further delights to come.

Given how many hundreds (thousands?) of soloists, combos and bands have covered “Linus and Lucy,” this album’s highlight may well be “Linus and Juicy,” Gonzales’ playful and marvelously unique arrangement of that tune: a wild re-interpretation also highlighted by another of Marcus’ sleek bass solos. The trio’s handling of “Skating” is buoyant and lyrical; “Christmas Is Coming” is aggressively peppy, with a terrific swing bridge dominated by Marcus’ walking bass.

Jorgensen sets an infectious march tempo for “Little Drummer Boy,” adding tasty percussion touches behind Gonzales’ lyrical keyboard noodling; “Hark! The Herald Angels Sing” is suitably thoughtful and majestic. Gonzales opens “O Tannenbaum” with gentle solo piano, in a respectful echo of Guaraldi’s arrangement, and then “expands” the tune with some delectable swing that invites a tasty bass solo, which segues to lively byplay between keyboard and drums.

A lengthy, 7-minute arrangement of “Christmas Time Is Here” is properly gentle, offering plenty of lyrical improv by both Gonzales and Marcus. Unexpectedly droll and up-tempo readings of “O Come, O Come Emmanuel” and “Silent Night” deliver more sizzle than we generally expect from these two reverential carols.

Gonzales adds enthusiastic but clearly untrained vocals to “The First Noel” and “The Christmas Song,” which may raise eyebrows; although his delivery is heartfelt, Tony Bennett and Harry Connick Jr. have nothing to worry about. But that’s a minor quibble, given the finger-snapping “juice” that characterizes the rest of the album. It’s a must for Guaraldi fans, and can be ordered here.

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BITS AND BOBS

December always unleashes a string of tributes to Guaraldi and A Charlie Brown Christmas, most of which are amateur noodlings from individuals who do little or no research, and add nothing of merit to the discussion. But this year is far better than usual, starting with Ethan Iverson’s scholarly piece in no less than The New Yorker.

Other items of interest:

• Michael G. Williams’ detailed history of Guaraldi, in Tribune

• Charles Mudede’s excellent feature in The Stranger

• A short but delightful new CBC Radio interview with drummer Jerry Granelli

• Matt Draper’s nicely assembled short YouTube documentary about Guaraldi