There are three composers that I have at one time or an other tried to play all of their songs: New Orleans R&B pianist Professor Longhair, The Doors, and Vince Guaraldi...Vince Guaraldi and his music are so much a part of the deep heart and soul of San Francisco, and of the experience of childhood, and beyond." - George Winston

In 1996, George released his first album of Guaraldi compositions, entitled Linus and Lucy - The Music of Vince Guaraldi. It nicely mixed well known-standards like the title track and Cast Your Fate to the Wind, with less well-known material, including some cues that had only been heard in the soundtracks. George's second album of Guaraldi music delves even deeper into the repertoire, uncovering some hidden gems.

Like many musicians of his generation, George Winston first heard the music of San Francisco based jazz pianist Vince Guaraldi on his 1962 hit Cast Your Fate to the Wind, and on the 1965 televised Peanuts¨ animation special A Charlie Brown Christmas.

First aired on the CBS network in 1965, the television special was created by the Peanuts comic strip creator Charles Schulz (1922-2000), writer/producer Lee Mendelson, and former Warner Brothers animator Bill Melendez (1916-2008). Vince Guaraldi was hired to compose the jazz soundtrack, a bold step for network television at that time. Vince completed the diamond that was the Dream Team.

At first, some executives at CBS weren't fully on board about using jazz for the music soundtrack. "When we brought the show to the CBS execs, they just didn't like it for a variety of reasons," says Lee Mendelson. "We were the first to use real kids, not adult actors, for the voices, and this caught them by surprise. There was no laugh track - 'Sparky' Schulz had, thankfully, talked me out of that. It was just all too new for them to embrace. The mixture of jazz and pop and traditional was a unique mix for a cartoon."

As it turned out, the show proved enormously successful on all accounts, artistically and commercially. It received high ratings, and went on to win both an Emmy and a Peabody. The success of A Charlie Brown Christmas led to a series of Peanuts specials that still air regularly (now on ABC) - and most important for fans of Vince Guaraldi, it launched two of his songs as standards: Linus and Lucy, and the perennial holiday classic Christmas Time Is Here.

Guaraldi composed the soundtracks for the next fifteen Peanuts animations, showing that jazz still had a place in mainstream popular culture. This led to an enormous body of work that has inspired countless other musicians.

"On Thursday, December 9, 1965, I saw the first broadcast of the Charlie Brown Christmas episode on TV, " George recalls. " I watched it because I was a fan of animation, and of the Peanuts comic strip. I was enjoying the show, and then the scene happened when Charlie Brown was trying to get the kids in line to rehearse for the annual Christmas play. He asks Schroeder to set the mood with some music, and instead Schroeder plays Linus and Lucy and the kids dance. As the song was played twice more in the episode, I went more and more crazy over it." George was moved by the sound of the piano in that song, a percussive yet melodic approach, and by the beauty of the whole soundtrack.

"At that time I was a huge fan of instrumental music, especially anything with organ," says George. "But I was really only crazy about six piano songs: Kokomo's Asia Minor (aka Jimmy Wisner, who also recorded Vince's Cast Your Fate to the Wind), Floyd Cramer's Last Date and On the Rebound, B Bumble & the Stingers' Nut Rocker (with Ali Hassan [aka Al Hazan] on piano, & production and arranging by Kim Fowley), Jack Fina's Bumble Boogie, and Vince Guaraldi's Cast Your Fate to the Wind."

"I went with my friend Clark Cochran to a record store in Miami the next night (as we usually did on Friday nights, when we didn't have a basketball game), and I saw the sound track album of A Charlie Brown Christmas displayed up on the wall at the store. That's when I realized that the soundtrack was by Vince Guaraldi, the Cast Your Fate to the Wind composer, as I had missed seeing that information when the credits rolled at the end of the Charlie Brown Christmas episode the night before."

"I couldn't believe it, and I was so excited 'that song' might be on the record," says George. "I bought it, went home immediately, and played the beginning of each song until I found it. The whole album was like one long song with multiple parts all unified into one beautiful statement. This was the first time I had that experience with an album. It was also a great feeling to be able to hear Linus and Lucy whenever I wanted. Linus and Lucy was added to my 'going crazy over piano list' along with Skating, Christmas is Coming, and actually the whole Charlie Brown Christmas soundtrack album. I still learn from it."

"I felt a great satisfaction from getting records of music I loved. Later on when I started playing music I got that same feeling from learning songs." Buying that album helped put George on the path to becoming a musician. "I had taken a few piano lessons at six years old or so, so I knew what the 12 notes were, and I went to the piano occasionally with Clark. We would fool around with trying to play the left hand part of Linus and Lucy in the key of C, (the white keys), not in flat as Vince had done it, and of course we were missing that tricky part at the begin ning of the second measure. After that I bought everything Vince released."

"Thirteen months later, in January 1967, I was at a Miami record store again with Clark on a Friday night looking for organ records. I went up to him with the newest Jimmy Smith album, and later he came over to me with an album and said 'This band has organ.' It was the first album by The Doors. We had not heard of them, because the record had just come out. (The Doors were not well known yet at that time, as Light My Fire did not become a hit until later in the glorious summer of 1967.) I bought it just because it said 'Ray Manzarek, organ' on the credits on the back of the album."

Listening to The Doors at home that night inspired George to get an organ and to dream of playing in a band someday. "That album was the second time I experienced an album as one unified long song with multiple parts," George says. "Vince's A Charlie Brown Christmas album had definitely prepared me for listening to The Doors' first album. Doors' organist Ray Manzarek later told me that one of his inspirations was Vince Guaraldi, especially in Ray's beautiful instrumental piano solo in the Doors' song The Crystal Ship, and that Doors guitarist, Robby Kreiger, had suggested Ray try the Vince Guaraldi approach. Doors' drummer, John Densmore, also sites Vince in his book Riders On The Storm (pp 255). I had the same experience with The Doors' other five studio albums and their live album, and also with the first album by Blood Sweat & Tears (with Al Kooper), CHILD IS FATHER TO THE MAN."

George switched to piano in 1971, and from then on has only played solo. He was especially inspired by the recordings of the great Stride pianist Thomas "Fats" Waller (1904-1943). As George made the switch from organ and set out to learn stride piano, he also found the music of Vince Guaraldi providing him with inspiring repertoire. "They were some of the first songs I started learning for solo piano," he says. "I also started to audio tape each Peanuts episode, and to this day I still listen to the 16 episodes that Vince scored." After George moved to California in 1971, he had the pleasure of meeting Vince at a jazz club in Palo Alto, California. "He was very gracious and encouraging when I had the occasional opportunity to play intermission piano between his sets", George recalls.

Coming full circle in 1988, Peanuts producer Lee Mendelson asked George to score an episode entitled This is America, Charlie Brown - The Birth of the Constitution. "I couldn't believe it," says George, who considers it one of his career highlights.

"A lot of Vince's music is very seasonal, and it reminds me very much of my childhood in Montana. It generates joy, warmth, and images of his hometown, San Francisco. I want to do what I can to help keep his musical legacy alive."

Vince Guaraldi (1928-1976):
Born in San Francisco in 1928, Vince Guaraldi began piano lessons around age seven. As a teen, he taught himself boogie-woogie and blues by listening to masters such as Jimmy Yancey, Meade "Lux" Lewis, Albert Ammons and Pete Johnson. He was also later inspired by bebop jazz pianist Bud Powell and impressionistic jazz pianist Bill Evans. In 1949 Vince played his first professional gigs with former Thelonious Monk saxophonist Kermit Scott. He also worked as intermission pianist at the Black Hawk in San Francisco, where greats like Art Tatum headlined. In 1950 he joined jazz vibraphonist Cal Tjader's combo, which inspired his interest in Latin music. Around 1956 Vince began to hold down a steady gig at the hungry i in San Francisco with his trio, which included guitarist Eddie Duran and bassist Dean Reilly. He also signed with Fan tasy Records, in addition to taking over the piano in Woody Herman's Thundering Herd for a few tours.

During the early 1960s, as Vince's reputation grew, he received many offers to tour outside the Bay Area. "He could have done a lot more," Lee Mendelson says, "but he liked San Francisco and playing music around the local clubs." Reflecting both his eclectic personal tastes and the experimental spirit of the times, Vince led a series of stellar groups that mixed Blues, modern jazz, Latin, Bossa Nova and pop. In 1962, he scored unexpected commercial success when his composition, Cast Your Fate to the Wind, became a hit.

Cast Your Fate was originally the B side of the jazz single, Samba de Orpheus, the Luiz Bonfa/Antonio Carlos Jobim theme from the classic 1959 film, BLACK ORPHEUS. Cast Your Fate took off when two Sacramento DJs flipped the record over and began playing it on the air every hour. This song stayed high on the pop charts for eighteen weeks, and its success attracted the attention of creative people outside of the jazz milieu. (See more on the notes to Nobody Else, song #15).

In 1963, Lee Mendelson created a docu mentary about Charles Schulz called A Boy Named Charlie Brown. remembers driving into San Francisco when Cast Your Fate to the Wind came on the radio. "I was thinking about what kind of music to use," Lee says. "When I heard that song, something clicked. I found out that Vince lived in San Francisco, and I got in touch with him." Vince had been reading Peanuts for years and had two kids of his own, so he loved the project. Within a short time he called Lee and told him he had something to play for him. "That's the first time I heard Linus & Lucy. As soon as I heard it, I knew it was perfect. When I brought the music to Charles Schulz, he was thrilled," Lee recalls.

That documentary never aired, but in 1965 they tried again with A Charlie Brown Christmas. Vince again did the music, including Linus and Lucy from the original documentary. "Although Vince had never scored anything else," says Lee, "and although I was basically a documentary film maker at the time, we started to work together on the cues because we both loved jazz and we both played the piano. So he would bring in the material for each scene and we would go over it scene by scene. Most of the time, the music worked perfectly. But there were times we would either not use something or use it somewhere else. We went through this same process on all sixteen shows. Although there was always some left-over music, most of the time what he wrote and performed is what went on the air."

"I have always felt that one of the key elements that made that show was the music," says Lee. "It gave it a contemporary sound that appealed to all ages." Vince went on to score fifteen Peanuts¨ specials and one feature film until his untimely death in 1976 at the age of 47.

As Mendelson points out, "Several generations have now grown up with Vince Guaraldi's music. If people hear just one or two bass notes of the intro to Linus and Lucy, they cheer. The Peanuts programs and Vince's music were such a wonderful marriage. It's a shame it got cut off so soon, but people like George are perpetuating it, for which we are very appreciative."

"Vince had a very distinctive way of using jazz chords with beautiful voicings, as well as tone clusters - especially on the V chord Dominant 7ths, the minor ii half-diminished chords, and the tonic Major 7th chords. He often used straight Major triads, which is rare among jazz pianists. He favored the major keys of F, Ab, and C, sometimes Eb and Bb, and occasionally G and D. His favorite minor keys were F minor and Cminor, and sometimes D minor, G minor and minor." George adds, "I feel that the songs I play of Vince's can be divided into five main categories:

1. Lyrical and impressionistic Jazz, such as Cast Your Fate to the Wind, Nobody Else (song #15), Love Will Come (#13), Love Will Come 2 (#16), Be My Valentine (#8), Room at the Bottom (#6), Macedonia (#3), Little David (#3), Rain Rain Go Away (#14) Christmas Time is Here, Dilemma, Seeds for Thought , Newport Theme, Alone Charlie Brown, The Great Pumpkin Waltz, Bon Voyage, Remembrance, Theme to Grace, Monterey, and Halloween (aka Graveyard Theme);

2. Latin-tinged music of which Jambos [Casaba][#11], Brasilia (#10), Pebble Beach (#12), Treat Street, The Masked Marvel, Snoopy at Bat, and Alma-Ville, are examples;

3. Mainstream Jazz/Bebop, such as Air Music (#7), and Charlie Brown's Baseball Theme;

4. Soul-Jazz minor key songs, such as Fenwyck's Farfel (#5), and Dr. Funk (#5), and Highway 1 [aka Freeway];

5. Up-tempo Peanuts music, where Vince's left-hand style often reflects his early boogie-woogie piano influences, including Linus & Lucy, Time For Love, Charlie Brown (#1) It Was A Short Summer, Charlie Brown (#2), You're Elected Charlie Brown (#9) Little Birdie (#9), Woodstock (#4), Skating, Charlie Brown Thanksgiving, Charlie Brown's All-Stars, You're In Love, Charlie Brown, Peppermint Patty, Christmas is Coming, and Red Baron. Another style that Vince played towards the end of his life was of Rock influenced music on electric piano, which is not represented on this album."


1. Time for Love (3:45) - keys of D minor, C# minor, and F Major
George's interpretation of the main theme from the Peanuts¨ TV special There's No Time for Love, Charlie Brown, which was also the original title of the song. It has an unusual change of keys from D minor (the i chord), for a brief time to C# minor (the vii minor 7th chord), then going to the D Major chord (the I chord in the key of D Major [and the flat II chord in the key of minor]), and then for the next verse back to D minor (the I chord). George has also added in a section in the key of F Major. Vince's versions were issued on his albums VINCE GUARALDI AND THE LOST CUES FROM THE CHARLIE BROWN TV SPECIALS VOLUME 1, and VINCE GUARALDI TRIO - LIVE ON THE AIR.

2. It Was a Short Summer, Charlie Brown (2:15) - key of F
Although never released on a commercial audio recording by Vince, this song was the main theme from the Peanuts¨ special It Was A Short Summer, Charlie Brown.
George's rendition here is very inspired by the playing of the late, great New Orleans pianist James Booker (1939 -1983). A keyboard wizard, Booker was the first person to take R&B, Blues, Soul, New Orleans music, the Professor Longhair in fluence, the Ray Charles influence, and more, and make a whole solo piano style from those traditions.

3. Macedonia/ Little David (4:52) - key of F minor
Vince had a great fondness for impressionistic minor key songs. George plays a medley of these two pieces that Vince recorded with Conte Candoli on the 1960 album LITTLE BAND, BIG JAZZ (it has been reissued with the title VINCE GUARALDI AND THE CONTE CANDOLI ALL STARS). Little David was originally recorded in the key of C minor by Vince, and is played here by George in the key of F minor.

4. Woodstock (4:17) - keys of C, F and G
George's solo arrangement combines two themes from the Peanuts special It's A Mystery, Charlie Brown: the title track, and the cue known as Cops and Robbers. Both songs were originally issued Vince's album VINCE GUARALDI AND THE LOST CUES FROM THE CHARLIE BROWN TV SPECIALS VOLUME 2. (There is an error on the track listing on that CD - both of these songs are actually one track before the one they are listed as). Cops and Robbers has also been issued on his album VINCE GUARALDI TRIO - LIVE ON THE AIR, under the title Little Birdie. These songs are also both examples of Vince's use of straight Major chords in a jazz context.

5. Fenwyck's Farfel / Calling Dr. Funk (3:42) - key of D minor
A medley of two lovely impressionistic minor key pieces:
Fenwyck's Farfel was on the 1956 album THE VINCE GUARALDI TRIO, and the 1957 album JAZZ IMPRESSIONS (the same track is on both albums);
Calling Dr. Funk came out in 1955 on the compilation album with Vince and other artists, MODERN MUSIC FROM SAN FRANCISCO, which was later reissued on CD as THE JAZZ SCENE SAN FRANCISCO. "Dr. Funk" was Vince's nickname.
George here plays two verses of Fenwyck's Farfel, and one verse and chorus of Calling Dr. Funk, before ending with one more verse of Fenwyck's Farfel.

6. Room at the Bottom (3:54) - key of C
George has always related music to nature, especially places and seasons, and here he plays this piece evocative of the San Francisco nights. Vince recorded it on his album JAZZ IMPRESSIONS, with tracks from 1957, and on his album A FLOWER IS A LOVESOME THING, with tracks also from 1957, and the song was titled Like a Mighty Rose on that album (the same track is on both albums).

7. Air Music (2:38) - key of C
Vince often found creative ways to make some of his sound track music work in a wide variety of settings. Vince's original versions, featuring a horn section more than his piano, appeared in three Peanuts¨ TV episodes: A Charlie Brown Christmas, Charlie Brown's All-Stars, and It Was a Short Summer, Charlie Brown. It is also known as Surfin' Snoopy.
"I was also inspired on this song by the great New Orleans jazz/ R&B pianist Henry Butler," George says. Vince's original can be found on his album CHARLIE BROWN'S HOLIDAY HITS.

8. Be My Valentine (3:26) - keys of F, C, and F minor
On the albums (with the cue name Heartburn Waltz) CHARLIE BROWN’S HOLIDAY HITS, and VINCE GUARALDI AND THE LOST CUES FROM THE CHARLIE BROWN TV SPECIALS VOLUME 2 . This was the main theme from the 1975 Peanuts TV special BE MY VALENTINE CHARLIE BROWN, with the original title of Heartburn Waltz.

Be My Valentine was one of the many jazz waltzes Vince composed. Vince Guaraldi (with at least 19 waltzes) and pianist Bill Evans (with at least 13 waltzes) were the most prolific composers of jazz pieces in 3/4 time. Vince’s jazz waltzes included;
  1. The Great Pumpkin Waltz(song #4 on the LINUS & LUCY album),
  2. Skating(song #3 on the LINUS & LUCY album), and
  3. You’re In Love Charlie Brown(song #11 on the LINUS & LUCY album);
  4. Be My Valentine Charlie Brown [aka Heartburn Waltz](song #8),
  5. You’re Not Elected Charlie Brown [aka Incumbent Waltz] (song #9),
  6. Bus Blues (also as part of the medley You’re Elected Charlie Brown/ Little Birdie – song #9),
  7. Rain Rain Go Away (song #14),
  8. Love Will Come 2 (song #16),
  9. Christmas Time Is Here,
  10. Baseball Theme,
  11. Happiness Is
  12. Be My Valentine #2 (aka Valentine Interlude #1), a theme near the beginning of the episode BE MY VALENTINE, CHARLIE BROWN,
  13. You’re A Good Sport Charlie Brown, a short theme toward the end of the episode YOU’RE A GOOD SPORT CHARLIE BROWN,
  14. Unrequited Love (aka Valentine Interlude #1), a theme near the beginning of the episode BE MY VALENTINE, CHARLIE BROWN,
  15. You’re A Good Sport Charlie Brown, a short theme toward the end of the episode YOU’RE A GOOD SPORT CHARLIE BROWN,
  16. Combined:
  17. Two jazz waltzes, one that that I call Bay of Gold, and another one, from the soundtrack for the documentary BAY OF GOLD that Vince scored in 1965. BAY OF GOLD is about the history of San Francisco and the Golden Gate Bridge, and you can see it at
  18. Combined:
  19. Two jazz waltzes, Why Bicycles (aka Bicycle Club), and The Tiburon Bikeway (aka Bicycling in the City), from the documentary that Vince scored in 1974, BICYCLES ARE BEAUTIFUL.
  20. He also sometimes played the song It’s a Mystery Charlie Brown as a waltz, as well as in 4/4 time (song #4 on the LOVE WILL COME album, and titled Woodstock, and played in 4/4 time there).
  21. He sometimes played the song (or part of the song) There’s No Time for Love, Charlie Brown as a waltz (song # 1 on the LOVE WILL COME album).
  22. He occasionally played the song Peppermint Patty as a waltz, as he did near the beginning of the episode YOU’RE A GOOD SPORT, CHARLIE BROWN.

    Some other noted jazz waltzes are: Bobby Timmons’ This Here and Soul Time, Toots Thielemans’ Bluesette, Miles Davis’ All Blues, Bill Evans’ Waltz for Debby and B Minor Waltz (for Ellaine) and G Waltz and Carnival and Maxine and Tiffany and Very Early and We Will Meet Again and Waltz in Eb and The Two Lonely People and A Simple Matter of Conviction, Miles Davis’ and Bill Evans’ arrangements of the Larry Morey & Frank Churchill song Someday My Prince Will Come, Bill Evans’ arrangement of the Sammy Fain & Bob Hilliard song Alice in Wonderland, Tad Jones’ A Child is Born, Dave Brubeck’s It’s a Raggy Waltz and Kathy’s Waltz and Three to Get Ready and Theme From Mr. Broadway, John Coltrane’s Spiritual and Ole as well as his arrangements of Greensleeves and the Rogers & Hammerstein songs My Favorite Things and Chim Chim Cheree, Jimmy Smith’s variation on the John Coltrane arrangement of Greensleeves, the Oliver Nelson/Jimmy Smith arrangement of Richard Rodgers’ Slaughter on Tenth Avenue, the Oliver Nelson/ Jimmy Smith arrangement of Elmer Bernstein’s Walk on the Wild Side, Oliver Nelson’s Six and Four, and part of his Blues and the Abstract Truth, part of Jimmy Smith’s Oh No Babe, part of Jimmy Smith’s arrangement of Johnny Mercer’s Blues in the Night, Jimmy Smith’s arrangement of the Roy Jacob, Will Welden & Andy Razaf song I’m Gonna Move to the Outskirts of Town, Charles Mingus Better Git It In Your Soul, McCoy Tyner’s Groove Waltz and Three Flowers, Rahsaan Roland Kirk’s The Waltz of the Friends, Burt Bacharach’s Wives and Lovers and What The World Needs Now is Love, Horace Silver’s Mary Lou and Serenade to a Soul Sister and Pretty Eyes and My Mother's Waltz, and Senor Blues (which could also be interpreted as in 4/4 time)and Whenever Lester Plays the Blues and Summer in Central Park and Nothin’ Can Stop Me Now, Don Newey’s Without You, Milt Jackson’s Some Kinda Waltz and Soul in 3/4, Milt Jackson’s arrangement of his song Bags’ Groove in 3/4 time with Ray Brown and J. J. Johnson, Jimmy Heath’s Gemini, Jimmy Heath’s Gemini, Wes Montgomery’s West Coast Blues, Cal Tjader’s Colorado Waltz and Fuki, Cal Tjader & Eddie Palmieri’s Unidos, Vic Ash’s The Hooter, Cedar Walton’s Midnight Waltz, Wayne Shorter’s Footprints and Isis, Thelonious Monk’s Ugly Beauty, Sonny Rollins’ Valse Hot and Kids Know, Joe Zawinul’s Midnight Mood, Max Roach’s Blues Waltz and Little Folks and The Drum Also Waltzes, Art Blakey’s arrangement of Lift Every Voice and Sing (The Black National Anthem) [composed in 1900 by James Weldon Johnson & J, Rosamond Johnson], Gerald Wilson’s Blues for Yna Yna, Erroll Garner’s Paris Mist (Waltz-Swing) and Fashion Interlude, Hugh Martin and Ralph Blane’s The Boy Next Door, Larry Young's Testifying and The Hereafter and Tyrone and Falaq and Sunshine Fly Away, Art Pepper’s & Paul Chambers’ Waltz Me Blues, Richie Bierach’s Nightlake, Gary Peacock’s The Pond, Gary Peacock’s & Marc Copland’s arrangement of Stanley Myers’ song Cavatine, Dale Bruning’s Dancing With Daffodils, Cannonball Adderely’s version of Galt MacDermot’s African Waltz, Earl Zindar’s Elsa, Jaco Pastorius’ Three Views of a Secret, Randy Weston’s Waltz for Sweet Cakes, Donald Brown’s Waltz for Monk, John Patton’s Just 3/4, Antonio Carlos Jobim’s Chovendo Na Roseira (Double Rainbow), Herbie Nichols’ Love Gloom Cash Love, Freddie Hubbard’s Up Jumped Spring, Don Friedman’s Circle Waltz, Frank Rosolino’s Blue Daniel, Jimmy Wisner's New Jersey Waltz (part of this song is in 3/4 time), Denny Zeitlin’s I-Thou and Carole’s Waltz and Waltz for Josephine, Hampton Hawes’ Sonoro and Rhonda as well as his arrangements of The Green Leaves of Summer and Fly Me to the Moon (which Bart Howard originally composed in 3/4 time, even though it is usually played in 4/4 time, including a version [in 4/4 time] by Vince Guaraldi which was issued as a bonus track on his recording JAZZ IMPRESSIONS OF A BOY NAMES CHARLIE BROWN), Ron Carter’s Little Waltz, Marian McPartland’s Melancholy Mood and Threnody, Ellis Marsalis’ Monkey Puzzle , Dr. John’s Dorothy, Leonard Bernstein’s I Feel Pretty, David “Fathead” Newman’s Song for the New Man, Mal Waldron’s Fire Waltz, Booker Little’s Booker’s Waltz, Henry Butler’s Joanna, Henry Mancini & Johnny Mercer’s Moon River, Oscar Peterson’s Lady Di’s Waltz, Chick Corea’s Windows, Joe Henderson’s Black Narcissus, John Abercrombie’s Ralph’s Piano Waltz, The Bob Thiele Collective’s (with David Murray, John Hicks, Cecil McBee, & Andrew Cyrille) arrangement of Richard Rodgers’ Sunrise Sunset, Steve Allen & Ray Brown’s Gravy Waltz, Jerome Kern’s Up With the Lark, Gary McFarland’s Peachtree, Marc Cary’s Waltz Betty Waltz, Dave Lewis' Little Green Thing, Bill Engvick & Morty Palitz & Alec Wilder’s While We’re Young, Walter Gross’ Tenderly, Elmore James’ Twelve Year Old Boy, John Hicks’ Waltz for Ruth, Ron Jackson’s Nikki’s Waltz, Phil DeGreg’s Carol’s Waltz, Lennie Niehaus’ Waltz for Spring, Duane Andrew’s Portuguese Waltz, Jesse Green’s My Miracle, Mel Torme’s arrangement of Bobby Timmons’ Moanin’, Eubie Blake’s Marion’s Waltz, and Margaret’s Waltz, Kenny Wheeler’s Heyoke, Dave Holland's Waltz for Wheeler, Pierre Bensusan's La cour intérieure (The Courtyard), Jacam Manricks’ Cloud 9 (also could say this song is in 9/8 time), Spirit’s Elijah and Fresh-Garbage(the modal improvisation in the electric piano solo –[the rest of the song is in 4/4/time])and Space Child, Darol Anger’s Keep Sleeping, Bruce Cockburn’s Rise and Fall and Sun Salt and Time, Alex Degrassi’s Turning and Turning Back and Causeway, and Thomas “Fats” Waller’s Jitterbug Waltz (that Vince Guaraldi also recorded on his album VINCE GUARALDI–IN PERSON).

    9. You're Elected, Charlie Brown / Little Birdie (8:06) - keys of F and A Flat.
    George crafted this medley around You're Elected Charlie Brown, which appears at the beginning and again at the end of this track. This composition is the main theme from the Peanuts special You're Not Elected, Charlie Brown, and it appears briefly at the end of the episode There's No Time for Love, Charlie Brown. It also goes by the name Incumbent Waltz.

    Little Birdie is another great Peanuts cue. A version with great vocals by Vince in flat appears in the episode A Charlie Brown Thanksgiving, and also on the album VINCE GUARALDI AND THE LOST CUES FROM THE CHARLIEBROWN TV SPECIALS VOLUME 1. An instrumental version by Vince in the key of C can be heard in the episode It's A Mystery, Charlie Brown, and on the album VINCE GUARALDI AND THE LOST CUES FROM THE CHARLIE BROWN TV SPECIALS VOLUME 2. (Note: on the album VINCE GUARALDI TRIO - LIVE ON THE AIR, Little Birdie is actually the song Cops and Robbers, a piece that is used on this album as part song #4, Woodstock).

    George segues between the two main themes with a cue known as Bus Blues, in the key of F, which appears by Vince in the Peanuts special It Was a Short Summer, Charlie Brown.

    10. Brasilia (2:09) - key of C minor
    Like many jazz artists, Vince was also a huge fan of Latin and Brazilian music. He recorded this song on his 1964 album THE LATIN SIDE OF VINCE GUARALDI, and added strings on the original for a flavor of the classic samba arrangements of the great Brazilian composer Antonio Carlos Jobim (1927-1994). George's solo piano version here is also inspired by the San Francisco nights.

    11. Jambo's [Casaba] (4:51) - key of F
    Vince loved playing with the great Brazilian guitarist Bola Sete (1923-1987), who was a frequent member of his trio in the 1960s when both were living in the San Francisco area. This classic fruit of their collaborations can be found on his 1963 album VINCE GUARALDI/BOLA SETE AND FRIENDS (reissued on CD as a two album disk titled VINCE & BOLA(AND FRIENDS)/ LIVE AT EL MATADOR). Another version also appears on Vince's last studio album, ALMA-VILLE, recorded in 1970.

    George's interpretation here was again inspired by New Orleans pianists James Booker, Henry Butler, and also by guitarists Jorma Kaukonen, Wes Montgomery (1923-1968), as well as Robben Ford, the latter who also sometimes played with Vince in the early 1970s at the now defunct club In Your Ear in Palo Alto.

    12. Pebble Beach/ Dolores Park (4:13) - key of F
    The popularity of the first Peanuts special not only meant more television programs, but also gave Vince the opportunity to compose much more material. This piece appears on Vince's 1964 album (JAZZ IMPRESSIONS OF) A BOY NAMED CHARLIE BROWN, and it also appeared in three Peanuts specials: Charlie Brown's All-Stars, It Was a Short Summer, Charlie Brown, and most prominently in He's Your Dog, Charlie Brown. Here, George's rendition again draws inspiration from San Francisco.

    13. Love Will Come/ Slow Dance (George Winston) (4:30) - key of F
    This lovely ballad was used by Vince in the Peanuts specials You're In Love, Charlie Brown, and It Was a Short Summer, Charlie Brown. George has added his own piece to the ending in his interpretation. "Some of it was inspired by my dear late friend, the systems engineer extraordinaire Jack Crymes," says George, "and also the playing of the great Hawaiian Slack Key guitarist James "Bla" Pahinui."

    14. Rain, Rain, Go Away (3:14) - keys of C and E flat
    Though it has a title that suggests a popular children's rhyme, Rain, Rain, Go Away is actually a somewhat melancholy piece that underscores the closing scene in the\Peanuts episode Charlie Brown's All-Stars where we see the long-suffering title character standing alone in the rain on the pitcher's mound. It was also in Vince's last Peanuts score It's Arbor Day, Charlie Brown from 1976, and it is also again an example of Vince's use of straight Major chords in a jazz context. Recorded versions appear Vince's 1968 album OH, GOOD GRIEF, and the album THE CHARLIE BROWN SUITE AND OTHER FAVORITES.

    15. Nobody Else (5:08) - key of D
    Nobody Else was a song that Vince composed for a dear friend. George begins this version with some variations that Vince played in the film, Anatomy Of A Hit, in a scene shot in Vince's house. Vince played it as an exploratory prelude in the key of flat before going into a brief version of Cast Your Fate to the Wind (in the scene before his phone rings and he stops).

    Cast Your Fate, along with Linus and Lucy and Christmas Time is Here, are Vince's best-known songs. Released in 1963, it was one of the last jazz songs to be released as a single and become a certified pop music hit. CAST YOUR FATE and Vince were the subjects of the late Ralph J. Gleason's three-part documentary, ANATOMY OF A HIT, produced in 1964 for PBS TV station KQED in San Fran cisco. It has been expanded and reissued by Ralph's son Toby Gleason, with a new title THE ANATOMY OF VINCE GUARALDI, including bonus footage and interviews.

    Vince also recorded versions of Nobody Else on his 1969 album THE ECLECTIC VINCE GUARALDI, his 1966 album LIVE AT EL MATADOR, and on his album VINCE GUARALDI AND THE LOST CUES FROM THE CHARLIE BROWN TV SPECIALS VOLUME 2.

    16. Love Will Come 2 (2:49) - key of C
    In many soundtracks, there are cues that get edited out or are never used for one reason or another. This is a romantic piece of Vince's that is receiving its first commercial release with George's interpretation on this album.

    Produced by George Winston, Howard Johnston and Cathy Econom
    Recorded by Howard Johnston
    Additional Engineering by Tyler Crowder, Adam Mu–oz, Justin Lieberman, Loredana Crisan, Rachael Allgood, Jenny Brooks, Thornburg and Alberto Hernandez
    Piano Technician: John Pfeifer
    Mastered by Bernie Grundman at Bernie Grundman Mastering, Hollywood, CA
    Liner notes by Jay Junker and George Winston, with research assistance by Derrick Bang
    Interior Photos: Dolores Thomas C Dancing Cat Productions 2009
    Project Coordinator: Jennifer Gallacher
    Art Direction by Frank Harkins
    Art Assistance by Lynn Piquett
    Cover photography by Morton Beebe © Morton Beebe 2001

    All songs composed by Vince Guaraldi and published by Lee Mendelson Film Productions (BMI) except the following: Fenwyck's Farfel is published by David and Dena Guaraldi; Room At The Bottom is published by Fantasy/Concord; White Rabbit composed by Grace Slick and published by Irving Music; Slow Dance composed by George Winston and published by Dancing Cat Music (BMI); George Winston arrangements published by Dancing Cat Music (BMI).

    Special thanks to: David Guaraldi & everyone in the Guaraldi Family, Lee Mendelson, Glenn Mendelson & everyone at Lee Mendelson Film Productions, the late Charles Schulz & Family, the late Bill Melendez, Matt Boudreau, Michael Romanowski, Paul Stubblebin, John Greenham, Carley Benham, Mona Marks, Bernie Grundman, Jon Leroy, Joe Bozzi, Marie Lewis & everyone at Bernie Grundman Mastering, Morton Bebee, Derrick & Gayna Bang, the late Ralph J. Gleason, the late Jean Gleason, Toby Gleason, Andy & Vicky Thomas, the late Bola Sete, Ann Sete, Eddie Duran, Sharman Duran, Dean Reilly, the late Jack Crymes, Dave Rogant, Tom Cummings, John & Huei-Ling & Julie Pfeifer, the late Gary Leuenberger, Bruce Olson, Susan Skaggs, Jeffrey Wood, Amanda Howell, Kim Weisberg, James Gangwer, Anna Stenberg, Lawrence Nwadike, Charles Braud, Gina Medina, Jared Rocco, Ameena and Uncle Danny & everyone at the Bang San Thai Restaurant, and Asia Altier;

    Mary Winston, Karen, Anna & Alex Gebarski, the Venice Dreamer, Chris Orrall, Eve & Sadie Rantzer, Lucinda & Emily & Sarah Edinberg, Frank Jacobs, Annie Meyer, Marci Wolfe, Deb & Alana Duran, Loreta Binkhoelter, Paula Perlis, Simone Dreifuss, Susan Shoshanna Friedman, Madalyn Suozzo, Carol Farron, Shohanna Gillen, Jane & Caitlln McHugh, Liz & Kalei & Shannagh Meep & Ashlyn Gobajie Bennett, Mary Ann Deda Cuomo, Sondra Daly, Janet Schriver, Dr. Benjamin Paz, Dr. Jim Anderson, Dr. Fouad Kandeel, Dr. Mark Wakabayashi, Kirsten Tallmon, Jo Ann Shifflett, Laura Funnye, Christine Willard , Charles Cox, & everyone at City of Hope, Dr. Dennis Kessler, the Econom Family, Geoffrey Sweeney, Jessica Sweeney, and Nancy & George Kahumoku;

    James Booker, Henry Butler, Professor Longhair (Henry Roeland Byrd), Jon Cleary, Allen Toussaint, Dr. John, Teddy Wilson, Thomas “Fats” Waller, Leonard Kwan, Bla & Kathleen Pahinui, Ted Greene, Ray Manzarek, Robby Keriger, John Densmore, Jim Morrison, Sam Hinton, Rick Epping, & Curt Bouterse;

    Bill Belmont & everyone at Fantasy Records and Concord Records, everyone at Warner Brothers Records, Bonnie Spence & everyone at Warner Home Video, Jeff Maynard & everyone at Amity Pictures, Alexander Gray & everyone at Studio West Pictures, and Bob Doerschuk;

    The Dolores Park folks, Dolores, Thomas, Pooch & the Robertson Family, Clarence, Hava, Neko, Keiki, Miles, Popoki, Dr. John, Little Booker, Gobajie, Goobajie, Mifffff, Arabella, Julian, and Sylvester;

    Jeff Sesar, Lauren Takahaski, Audrey Moreno & everyone at Zenith, Chip Schutzman, Michelle Hembree & everyone at Miles High, Morty Wiggins, Michelle Roche, Kathy Long, Carole Edman, Maureen McClain, Steve Isaacson and Frosty Horton;

    Gary Stiffelman, Penny Lambert, Marquis Davis, Dennis Luderer, Sharon Terrell-Brown, Traci Nelson; Randell Wixen, Stephanie David, Jennifer Suomi, & everyone at Wixen Music; Jeff Schroedl, Ben Cullin, Jennifer Dzik & everyone at Hal Leonard;

    Frank Riley, Dina Dusko & everyone at High Road Touring, Larry Rust, Belinda Au, Jennifer Gallacher, Gail Korich, & everyone at Dancing Cat;

    Barry Weiss, Tom Corson, Aaron Borns, Karen Hope, Tom Pardo, Damon Ellis, Heather Bowmaster, Frank Harkins, Jennifer Fowler, Tom Muzquiz, Keith Karwelies, Deb Eisen, Scott Sylvester.. and everyone at RCA/Sony Music.


    1. - The official site of the documentary film THE ANATOMY OF VINCE GUARALDI, produced in 2009 and 2010 by filmmakers Andrew Thomas and Toby Gleason. This is the new updated version with bonus footage of the film ANATOMY OF A HIT, a three-part film about Vince’s song Cast Your Fate to the Wind, produced by Toby’s father Ralph J. Gleason for PBS TV in 1963. The beginning of the film is based on ANATOMY OF A HIT, and then Vince's story moves forward through his years at the hungry i, to his Jazz Mass at Grace Cathedral, and his scores for the Peanuts animated programs. This feature-length film blends newly discovered recordings and film with the on-screen insights of Dave Brubeck, Dick Gregory, Jon Hendricks, as well as George Winston, and others, making it an essential resource for anyone with an interest in Vince Guaraldi.

    2. The official Vince Guaraldi family site - the Guaraldi family is constantly issuing new recordings on the family label, D&D Records.

    3. Site for the Charles Schulz Museum.

    4. United Media's official Peanuts site.


    1. Derrick Bang has written a wonderful deeply informative book: VINCE GUARALDI AT THE PIANO. He has also written several books on Peanuts creator Charles Schulz. For updates to the book see . In Derrick’s words, “This document is a detailed companion to my published career study,Vince Guaraldi at the Piano. Even at close to 400 pages, the book wasn't long enough to permit the inclusion of every significant event, performance or recording date during Vince Guaraldi's quite busy lifetime. Additionally, a project of this nature never really ‘concludes,’ because new information always comes to light; this document will serve as the perfect home for such fresh material. Any visitors with additional information -- names with which to replace the ‘unspecified’ tags, or gigs that aren't even listed here - are asked to contact me at , so this timeline can be updated.”

    2. Derrick Bang’s great site with many sections on Vince Guaraldi, including a complete discography

    3. Itemized list of all Vince Guaraldi compositions in the Peanuts TV specials on Derrick Bang’s site.

    4. - Derrick Bang’s primary site on Peanuts, Charles Schulz, and Vince Guaraldi

    Also pianist Bob Deorchuck wrote a great article on Vince Guaraldi for the July 1981 edition of KEYBOARD Magazine To download a PDF of the original article, click here. To order this back issue (if available) call 1-800-444-4881 or 785-838-7500, or email

    SOME RECOMMENDED VINCE GUARALDI RECORDINGS (these are in print unless otherwise noted - and the year the album was recorded is listed at the end of each selection):


    1. A CHARLIE BROWN CHRISTMAS (Fantasy FCD-30066-2)– new edition released in 2006 with five bonus tracks – originally released in 1965 – also see
    2. (JAZZ IMPRESSIONS OF) A BOY NAMED CHARLIE BROWN (Fantasy 8430-2) - 1964
    3. OH, GOOD GRIEF! (Warner Bros. Records WS 1747) - 1968
    4. THE CHARLIE BROWN SUITE & OTHER FAVORITES (Bluebird RCA 82876-53900) – live concert with an orchestra from May 18, 1968, along with three studio tracks from the 1960s – (on this album the track Happiness Is is actually the song The Great Pumpkin Waltz).
    5. CHARLIE BROWN’S HOLIDAY HITS (Fantasy 9682-2) – tracks from the 1960s and 1970’s
    9. JAZZ IMPRESSIONS OF BLACK ORPHEUS (Original Jazz Classics OJC-437-2) – has the original version of Cast Your Fate to the Wind - 1962
    10. NORTH BEACH (D&D Records VG 4465) – tracks from the 1960s
    11. OAXACA (D&D Records VG 1125) – tracks from the late 1960s and early 1970s
    12. VINCE GUARALDI TRIO – LIVE ON THE AIR (D&D Records VG1120 – live tracks from 1974
    13. AN AFTERNOON WITH THE VINCE GUARALDI QUARTET – (VAG Publishing LCC - VAG 1121) – live tracks from 1967
    15. ALMA-VILLE (Wounded Bird Records WOU-1828 [formally on Warner Brothers Records]) - 1970
    16. THE ECLECTIC VINCE GUARALDI (Wounded Bird Records WOU-1775 [formally on Warner Brothers Records) -1969
    17. A BOY NAMED CHARLIE BROWN [film soundtrack] (Columbia Masterworks OS3500, LP only - out of print) – edited version of the film with the dialogue and music (there is much more dialogue and much more of Vince’s music in the film)- 1969
    18. THE LATIN SIDE OF VINCE GUARALDI (Fantasy Original Jazz Classics OJCCD-878-2) - 1964
    19. JAZZ IMPRESSIONS (Fantasy Original Jazz Classics OJCCD-287-2) - 1957
    20. A FLOWER IS A LOVESOME THING (Fantasy Original Jazz Classics OJC-235-2) - contains five tracks from the album JAZZ IMPRESSIONS, along with three other tracks - 1957
    21. IN PERSON (Fantasy Original Jazz Classical OJCCD-951-2) - 1963
    22. VINCE GUARALDI TRIO (Fantasy Original Jazz Classics OJCCD-149-2) – 1956
    23. JAZZ SCENE: SAN FRANCISCO (MODERN MUSIC FROM SAN FRANCISCO) (Fantasy Original Jazz Classics 272 – the LP is out of print, and the 1991 reissued CD titled THE JAZZ SCENE SAN FRANCISCO on Fantasy 24760 is also out of print) - has two tracks by The Vince Guaraldi Quartet, as well as three tracks with Vince playing with the Ron Crotty Trio - 1955
    24. VINCE GUARALDI’S GREATEST HITS (Fantasy 7706-2) - 1980
    25. THE DEFINITIVE VINCE GUARALDI (Fantasy Records FAN 31462) – 2 CD set of tracks from his Fantasy Label recordings from 1955 through 1965, including two previously unissued bonus tracks, Autumn Leaves, and Blues for Peanuts.
    26. ESSENTIAL STANDARDS - (concord OJC31426 02) – compilation of songs from eight albums – 2009
    27. PEANUTS PORTRAITS (Fantasy Records FAN-31462) – Full versions of ten songs from the Peanuts soundtracks (they are usually much shorter in the episodes, to match the action), as well as unissued versions of Frieda (with the Naturally Curly Hair), Schroeder, Blue Charlie Brown, Charlie’s Blues, and Sally’s Blues, and Vince’s great vocal on Little Birdie. - 2010
    28. a Vince Guaraldi box set may be available in the future


    1. VINCE GUARALDI, BOLA SETE & FRIENDS (Fantasy 8356) – with guitarist Bola Sete - 1963
    2. LIVE AT EL MATADOR (Original Jazz Classics OJC-289) – with guitarist Bola Sete – 1966 - these two albums, VINCE GUARALDI, BOLA SETE & FRIENDS and LIVE AT EL MATADOR have been reissued together on one CD as VINCE GUARALDI AND BOLA SETE (Fantasy FCD-24256-2)
    3. FROM ALL SIDES (Original Jazz Classics OJC 989) - with guitarist Bola Sete - 1965
    4. VINCE GUARALDI & BOLA SETE - THE NAVY SWINGS (VAG Publishing LCC – live radio broadcasts of Vince’s trio with guitarist Bola Sete - 1965
    5. JAZZ CASUAL: PAUL WINTER/ BOLA SETE & VINCE GUARALDI (Koch Jazz KOC CD-8566) – Vince’s trio with guitarist Bola Sete (the Paul Winter set, without Vince, is a separate performance) - this performance by Vince and Bola is also on DVD: JAZZ CASUAL: ART PEPPER/ VINCE GUARALDI & BOLA SETE (the Art Pepper set, without Vince, is a separate performance) - produced by Ralph J. Gleason for PBS TV in the mid 1960s – (the DVD issue of the original Rhino Home Video VHS release is out of print but is sometimes available used at – if ordering for North American DVD players, be sure to order the NTSC version) – 1963


    (all are available on VHS at; and some are available on DVD, with more becoming available later)

    1. A Charlie Brown Christmas (December 1965) - EXCEPTIONAL SCORE – available on DVD - PEANUTS HOLIDAY COLLECTION, along with episodes #3 & #11
    2. Charlie Brown and His All-Stars (June 1966)- EXCEPTIONAL SCORE –
    3. It’s the Great Pumpkin, Charlie Brown (October 1966) - EXCEPTIONAL SCORE – available on DVD - PEANUTS HOLIDAY COLLECTION, along with episodes #1 & #11
    4. You’re in Love, Charlie Brown (June 1967)
    5. He’s Your Dog, Charlie Brown (February 1968)
    6. It Was a Short Summer, Charlie Brown (September 1969) - EXCEPTIONAL SCORE
    7. A Boy Named Charlie Brown (1970) - (one hour feature film)
    8. Play It Again, Charlie Brown (March 1971)
    9. You’re Not Elected, Charlie Brown (October 1972) - EXCEPTIONAL SCORE
    10. There’s No Time for Love, Charlie Brown (March 1973)
    11. A Charlie Brown Thanksgiving (November 1973) - EXCEPTIONAL SCORE – available on DVD - PEANUTS HOLIDAY COLLECTION, along with episodes #1 & #3
    12. It’s a Mystery, Charlie Brown (February 1974)
    13. It’s the Easter Beagle, Charlie Brown (April 1974)
    14. Be My Valentine, Charlie Brown (January 1975)- EXCEPTIONAL SCORE
    15. You’re a Good Sport, Charlie Brown (October 1975)
    16. It’s Arbor Day, Charlie Brown (March 1976)

    Some additional television specials with Vince Guaraldi’s music:

    1. There was a television documentary that aired in 1969 called Charlie Brown and Charles Schulz with music by Vince Guaraldi (available on DVD from the Charles Schulz Museum
    2. There was also an unaired television special from 1963 called A Boy Named Charlie Brown (unreleased on video) with music by Vince Guaraldi, some of which wound up being released along with other Vince Guaraldi compositions on his album (JAZZ IMPRESSIONS OF) A BOY NAMED CHARLIE BROWN. Some of this footage also ended up in the 1969 documentary Charlie Brown and Charles Schulz, and in the 1976 documentary Happy Anniversary Charlie Brown
    3. Also in 1976 there was a television special Happy Anniversary Charlie Brown with some music by Vince Guaraldi (unreleased on video).

      Also see for an itemized list in Derrick Bang’s site of all the Vince Guaraldi compositions in the sixteen Peanuts® animations and the television documentary that he scored.


    (in print unless otherwise noted):


    1. EXTREMES (Fantasy FCS-24764-2) – reissue contains two albums: THE CAL TJADER TRIO, recorded with Vince Guaraldi in 1951; and the album BREATHE EASY (without Vince) - 1951
    2. CAL TJADER: OUR BLUES (Fantasy FCD-24771-2) – reissue contains two albums: CAL TJADER, recorded with Vince in 1957; and CONCERT ON THE CAMPUS ( without Vince) – 1957
    3. JAZZ AT THE BLACKHAWK (Original Jazz Classics OJCCD-436-2) – 1957
    4. BLACK ORCHID (Fantasy FCD-24730-2) - contains two albums: CAL TJADER GOES LATIN, recorded with Vince in 1957; and CAL TJADER QUINTET (without Vince) - 1957
    5. SESSIONS LIVE: CAL TJADER AND CHICO HAMILTON (Calliope CAL 3011 - LP only, and out of print) - Vince plays on four songs with Cal Tjader: Lover Come Back to Me, The Night We Called It a Day, Bernie’s Tune, and Jammin’ – 1957
    6. LOS RITMOS CALIENTES (Fantasy FCD 24712-2) –reissue contains two albums: MAS RITMO CALIENTES, RECORDED WITH Vince in 1957; and RITMO CALIENTE (without Vince) - 1957
    7. SENTIMENTAL MOODS (Fantasy FCD-24742-2)– reissue contains two albums: LATIN FOR LOVERS, recorded with Vince in 1958; and SAN FRANCISCO MOODS, which includes only one track with Vince, recorded in 1958 - 1958
    8. A NIGHT AT THE BLACKHAWK [reissue of the album BLACKHAWK NIGHTS] (Fantasy OJCCD-2475-5) – 1958
    9. CAL TJADER’S LATIN CONCERT [reissue of the album LATIN CONCERT] (Fantasy Original Jazz Classics OJCCD-643-2) – 1958
    10. SESSIONS LIVE: CAL TJADER, CHRIS CONNOR AND PAUL TOGIWA (Calliope CAL 3002 - LP only, and out of print) – Vince plays on three songs: Crow’s Nest, Liz-Anne(aka Leazon), and Tumbao - 1958
    11. CAL TJADER/ STAN GETZ QUARTET (aka THE STAN GETZ/ CAL TJADER QUARTET) [reissue of the album STAN GETZ WITH CAL TJADER] (Fantasy Original Jazz Classics OJCCD-275) – 1958
    12. BEST OF CAL TJADER: LIVE AT THE MONTEREY JAZZ FESTIVAL 1958-1980 (Concord/ Monterey Jazz Festival Records MJFR-30701 ) - Vince plays on the first four tracks from the legendary performance from 1958: especially on Summertime and Now’s the Time; and also Cubano Chant, and Tambao – 1958


    1. WOODY HERMAN AND HIS ORCHESTRA: 1956 Storyville Records [Denmark] STCD 8247/48 – Double CD set with 41 songs with Vince Guaraldi as part of the Woody Herman Big Band, recorded July 28-29, 1956 – Here Vince piano wasn't recorded very well, so you need to boost the volume to best hear his introductions and his playing (and turn it down when the other instruments kick back in). He can be heard at the beginning of These Foolish Things, Buttercup, After Theater Jump, and Pimlico. Vince plays some short solos midway through Autobahn Blues and Square Circle, and he plays a bit more during Woodchopper's Ball. Vince’s best playing on these CDs is on five other tracks: Opus De Funk, which starts with his great boogie-woogie solo that runs for about a minute; Country Cousin, where he plays a brief intro and then a long solo halfway through the song; Wild Root, which has a great Vince solo; and best of all on Pinetop's Blues, with Vince's great boogie-woogie work behind Woody's vocal.
    2. THE COMPLETE CAPITAL RECORDINGS OF WOODY HERMAN 1944-56 (Mosaic MD6-196) - 6 CD SET including all the tracks from the BLUES GROOVE album. Disk 5 has three tracks that feature Vince Guaraldi: 5-10-15 Hours, You Took Advantage of Me, and Wonderful One.
    3. BLUES GROOVE (Capital T784, LP only - out of print) – with Woody Herman – 1956
    4. WOODY HERMAN’S ANGLO-AMERICAN HERD (Jazz Groove #004 - LP only, and out of print) - recorded live in Manchester, England, in April 1959 - 1959


    1. GUS MANCUSO & SPECIAL FRIENDS (Fantasy FCD-24762-2) – contains two albums: INTRODUCING GUS MANCUSO, recorded in 1956 with Vince; and GUS MANCUSO QUINTET (without Vince) – 1956
    2. WEST COAST JAZZ IN HIFI (Fantasy OJCCD-1760-2) [originally issued with the title JAZZ EROTICA {Hi Fi Jazz –R-604}] – with Richie Kamuca & Bill Holman - 1957
    3. THE FRANK ROSOLINO QUINTET (VSOP #16-CD – reissue of the album called VINCE GUARALDI/ FRANK ROSOLINO QUINTET on Premier Records PS 2014, and also issued on Mode Records MOD-LP-107; reissued on CD in Japan on the Muzak, Inc. Label MZCS-1166 – and four tracks from this album also appear on the album NINA SIMONE LIVE –WITH SPECIAL GUEST VINCE GUARALDI (Coronet CXS 242 – LP only) Vince appears on 4 tracks with the Frank Rosolino Quintet, and these are entirely separate from the Nina Simone tracks) - with Frank Rosolino – 1957
    4. LITTLE BAND, BIG JAZZ (Fresh Sound Records FSR1629) – [aka VINCE GUARALDI AND THE CONTE CANDOLI ALL STARS] (Crown Records CST417 & CLP5417) – with Conte Candoli – 1960
    5. CONTE CANDOLI QUARTET (Music Visions TFCL-88915 [Japan issue] – reissue of the album THE VINCE GUARALDI/CONTE CANDOLI QUARTET on Premier Records PM 2009, and also issued on Mode Records MOD-LP-109; reissued on CD in Japan on the Muzak, Inc. Label MZCS-1167) – 1957
    6. MONGO (Prestiege PRCD 24018-2 – reissue has the albums MONGO and YAMBU) – with Mongo Santamaria – Vince plays on one song from the MANGO album, Mazacote - 1958
    7. LATINSVILLE! (Contemporary CCD-9005-2) – with Victor Feldman - 1959
    8. BREW MOORE QUINTET (Fantasy OJCCD-100-2 [F-3-222]) – with Brew Moore – Vince plays on one song, Fools Rush In - 1955
    9. BREW MOORE (Fantasy LP3-265 & Original Jazz Classics OJC 049 - on LP and out of print) – Vince plays on one song, Dues’ Blues -1955
    10. JIMMY WITHERSPOON AND BEN WEBSTER (Verve V6-8835) - Vince Guaraldi backs up Jimmy Witherspoon and Ben Webster - 1959
    11. LIVE ... JIMMY WITHERSPOON, FEATURING THE BEN WEBSTER QUARTET (EMI/ Stateside SSL 10232 - Vince Guaraldi backs up Jimmy Witherspoon and Ben Webster - 1961
    12. JAZZ CASUAL: JIMMY WITHERSPOON AND BEN WEBSTER/ JIMMY RUSHING – produced by Ralph J. Gleason for PBS TV in 1962 – (the DVD issue of the original Rhino Home Video VHS release is out of print but is sometimes available used at - if ordering for North American DVD players, be sure to order the NTSC version) - also available on CD on Koch Jazz KOC CD-8561 – Vince Guaraldi here backs up Jimmy Witherspoon and Ben Webster (the Jimmy Rushing set, without Vince, is a separate performance) – 1962


    1. THE ANATOMY OF VINCE GUARALDI - reissued produced for DVD by Andrew Thomas and Toby Gleason with bonus footage – this is the new updated version of the film ANATOMY OF A HIT, a three-part film about Vince’s song Cast Your Fate to the Wind, produced by Toby’s father Ralph J. Gleason for PBS TV in 1963.
    2. JAZZ CASUAL: ART PEPPER/ VINCE GUARALDI & BOLA SETE (the Art Pepper set, without Vince, is a separate performance) - produced by Ralph J. Gleason for PBS TV in 1963 – (the DVD issue of the original Rhino Home Video VHS release is out of print but is sometimes available used at – if ordering for North American DVD players, be sure to order the NTSC version) – also available on CD with the title JAZZ CASUAL: PAUL WINTER/ BOLA SETE & VINCE GUARALDI (the Paul Winter set, without Vince, is a separate performance) on Koch Jazz KOC CD-8566 – Vince here plays with his trio with guitarist Bola Sete, and Bola Sete also appears without Vince -1993
    3. JAZZ CASUAL: JIMMY WITHERSPOON AND BEN WEBSTER/ JIMMY RUSHING (the Jimmy Rushing set, without Vince, is a separate performance) – produced by Ralph J. Gleason for PBS TV in 1962 – (the DVD issue of the original Rhino Home Video VHS release is out of print but is sometimes available used at - if ordering for North American DVD players, be sure to order the NTSC version) - also available on CD on Koch Jazz KOC CD-8561 – Vince Guaraldi here backs up vocalist Jimmy Witherspoon and saxophonist Ben Webster – 1962
    4. IN THE MARKETPLACE – 1966 documentary about the relationship of churches and society in San Francisco in the mid-1960’s – soundtrack by Vince Guaraldi, who also appears playing some of his music composed for his 1965 Grace Cathedral concert.
    5. ’67 WEST – documentary about Sunset Magazine, produced by Lee Mendelson with soundtrack by Vince Guaraldi.
    6. BICYLES ARE BEAUTIFUL – 1974 educational documentary produced by Lee Mendelson about bicycle safety for kids – soundtrack by Vince Guaraldi.
    7. BAY OF GOLD – 1965 documentary produced by Lee Mendelson about the history of San Francisco, with some music by Vince Guaraldi. It can be seen online at