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!

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 late February 2024.) 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!

The sincerest form of flattery

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.

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

It’s very 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 during the past few years.

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!