Piano solos

“Vince Guaraldi (pronounced “gerr-all-dee”) once said that he wanted to write standards, not just hits, and he did just that,” says George Winston. “His music is very much a part of the fabric of American culture, but not many people know the man behind the music. Play any one of the Peanuts® pieces for most kids, and they will usually say right away, ‘That’s Charlie Brown music.’ ” Vince’s soundtracks for the Peanuts® television specials from the 1960s and 1970s continue to delight millions of people around the world, and many his albums remain in print. “I play more of Vince’s songs than those of any other composer. A lot of his music is very seasonal, and it reminds me very much of my childhood in Montana. It generates joy, warmth, and humor, as well as whimsical feelings, childhood memories, and images of his hometown, San Francisco. I want to do what I can to help keep his musical legacy alive.”

Born in 1949, George Winston’s childhood was spent mainly in Montana, as well as in Mississippi and Florida. Growing up during the heyday of pop instrumental music in the late 1950s and the early 1960s (there were 30 instrumental hits in the Top 40 in 1961), he listened to artists such as Floyd Cramer (Last Date and On the Rebound) and Let’s Go and Hot Pepper [Flip Flop & Bob]), The Ventures (Walk Don't Run and Walk Don’t Run 64 and Perfidia), Booker T and the MG's (Green Onions, and Hip Hug-Her, and Groovin' and Time is Tight and Hang ‘Em High and Melting Pot and Soul Limbo), King Curtis (Soul Twist), Lonnie Mack (Memphis), Link Wray (Rumble), The Chantays (Pipeline), Kokomo (Asia Minor and Roy’s Tune), Jorgen Ingmann (Apache), Santo & Johnny (Sleep Walk and Tear Drop), Kenny Ball and his Jazzmen (Midnight In Moscow and The Green Leaves of Summer), The Village Stompers (Washington Square and From Russia With Love), Bill Black's Combo (Smokie--Part 2 and White Silver Sands), Johnny and The Hurricanes (Red River Rock), The Champs (Tequila and Limbo Rock), Dick Dale (Misirlou), The Marketts (Out Of Limits), The String-A-Longs (Wheels), Billy Joe & the Checkmates (Percolator), Cozy Cole (Topsy -Part 2), B. Bumble & the Stingers (Nut Rocker and Bumble Boogie), Jack Fina (Bumble Boogie). Bill Doggett (Honky Tonk--Part 2), Mar-Keys (Last Night), Willie Mitchell (20-75 and Soul Serenade), Dave "Baby" Cortez (Rinky Dink, and The Happy Organ, and Come Back To Lonely Me), Eskew Reeder [aka "Esquerita"] (Green Door), the Phil Upchurch Combo (You Can't Sit Down--Part 2), Bill Justis (Raunchy), Duane Eddy (Rebel Rouser and Forty Miles of Bad Road), The Ramrods (Ghost Riders in the Sky), Ace Cannon (Tuff), Travis Wammack (Scratchy), Mongo Santamaria (Watermelon Man), Jimmy Smith (Walk on the Wild Side, and The Cat), Jimmy McGriff (I've Got a Woman--Part 1), the Dave Brubeck Quartet (Take Five), Cannonball Adderly (This Here and Mercy Mercy Mercy and The Work Song and Country Preacher), The T-Bones (No Matter What Shape), Sandy Nelson (Teen Beat), Pete Drake (Forever), Bert Kaempfert (That Happy Feeling and A Swingin' Safari), Jack Nitzsche (The Lonely Surfer), Bill Pursell (Our Winter Love), Martin Denny (Quiet Village), Herb Alpert & The Tijuana Brass (A Taste of Honey and The Lonely Bull and Mexican Shuffle and What Now My Love and The Work Song), Henry Mancini (Peter Gunn, and The Pink Panther, and Baby Elephant Walk), Nelson Riddle (Route 66 Theme), Neal Hefti (Bathtub Saturday Night), George Shearing (Lullaby of Birdland), Horst Jankowski (A Walk in the Black Forest), Ramsey Lewis (The "In" Crowd and Wade in the Water and Hang on Sloopy and High Heel Sneakers), and Vince Guaraldi (Cast Your Fate to the Wind and Linus & Lucy and Skating and Treat Street). He would listen to the radio faithfully for the 30 seconds before the hourly news when they would play instrumentals.

It was around this time that George first remembers hearing Vince Guaraldi. “Like many people outside of San Francisco, I heard Vince in the early 1960s when his hit single Cast Your Fate to the Wind was getting airplay on the pop music radio stations. What set Cast Your Fate apart was that it was the rare jazz hit single.” (other jazz hit singles from around this time period were Topsy, Part II by Cozy Cole from 1958, Madison Time by pianist Ray Bryant from 1960, Take Five, by the Dave Brubeck Quartet from 1961, Desafinado by Stan Getz & Charlie Byrd from 1962, Girl from Ipanema by Stan Getz & Astrud Gilberto from 1964, and by the Ramsey Lewis Trio The In-Crown from 1965, Wade in the Water from 1966, Hang On Sloopy (1965), and Mercy, Mercy, Mercy by Cannonball Adderly from 1967).

In December 1965 George again heard Vince’s music when he watched the first broadcast of the Peanuts® T.V. special, A Charlie Brown Christmas (which is still broadcast every year). “I loved his soundtrack,” says George, “and the next day I bought the album. From then on I collected all of Vince’s records.”

George began playing organ and electric piano after high school in 1967. In 1971, after hearing records by the legendary stride pianists, Thomas “Fats” Waller and Teddy Wilson, he switched to solo piano and began working on his own brand of instrumental music, putting together songs of his own and arranging pieces by others, such as Vince Guaraldi. “When I started playing piano, I would anxiously anticipate and watch each Peanuts® special to see what new Vince Guaraldi tunes I could learn,” George remembers. “In 1971 I had the pleasure of meeting Vince at a jazz club in Palo Alto, California. He was very gracious and encouraging when I occasionally had the opportunity to play intermission piano between his sets.”

In 1972 George recorded his first solo piano album. Since then he has recorded five others with specific themes in the melodic genre he describes as rural folk piano. George has also recorded solo piano and solo guitar soundtracks for three children’s animated videos, including a Peanuts® special. “In 1988 a dream came true when producers Lee and Glenn Mendelson asked me to record the soundtrack for This Is America, Charlie Brown: The Birth of the Constitution. I played a lot of Vince’s songs, and included Cast Your Fate to the Wind because I wanted to use one of his songs that hadn’t been used in a previous soundtrack. Lee also asked me to play some songs on the harpsichord to help establish the feeling of the colonial period.”

Today George’s main musical expression is the live solo concert. He has been most influenced by the playing of the New Orleans R&B solo pianist James Booker, and R&B/jazz pianist Henry Butler. He has also been inspired by Professor Longhair and Dr. John. “On this album, I base quite a bit of my left-hand work, as well as some of my right-hand fills, on techniques learned from James Booker,” George says. “He was the first one to take R&B, soul music, and New Orleans music and develop a full-blown solo piano style out of these traditions. James Booker’s musical language permeates the way I play everything: stride piano, R&B, and even my rural folk style. Since Vince Guaraldi almost always played in a trio or in larger settings, I mix the Booker techniques along with Vince’s to achieve the full sound I want when playing his songs as solo pieces. Vince did record a few beautiful solo piano pieces, such as Autumn Leaves, Yesterdays, Never Never Land, and In Remembrance of Me. He also played exquisite solo piano introductions to his piece Theme to Grace, and to standards like Fly Me to the Moon and The Christmas Song (Chestnuts Roasting on an Open Fire).

George continues, “I feel Vince’s playing can be divided into four main categories: first, lyrical and impressionistic jazz, such as Cast Your Fate, The Great Pumpkin Waltz, and Remembrance; second, his Latin-tinged music of which Treat Street and The Masked Marvel are examples; third, mainstream jazz/bebop; and fourth, his Peanuts® music, like Linus & Lucy where his left-hand style often reflects his early boogie-woogie influences. Vince had a very distinctive way of using jazz chords with wide voicings, as well as tone clusters, especially on the dominant 7th and 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 C minor, and sometimes D minor, G minor and A minor.”

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 Fantasy 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 recognition grew, he received many offers to tour outside the Bay Area. “He could have done a lot more,” film producer 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. 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. The song wound up high on the pop charts for eighteen weeks, and its success attracted the attention of creative people outside of the jazz milieu.

In 1963 Mendelson was planning the first television special based on the Peanuts® comic strip with creator Charles Schulz. He 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,” says Lee. “As soon as I heard it, I knew it was perfect. When I brought the first tape for A Charlie Brown Christmas to Charles Schulz, he fell in love with it. I have always felt that one of the key elements that made that show was the music. 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.

“Two generations have now grown up with Vince Guaraldi’s music,” Lee says. “If people hear just one or two bass notes of the intro to Linus & 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.” A great article on Vince Guaraldi by the great pianist and author Bob Doerchuk, titled “Vince Guaraldi – Remembering the Man Behind ‘Cast Your Fate To The Wind”, is in the July 1981 edition of Keyboard Magazine (www.keyboardmagazine.com). George is planning a second volume of interpretations of Vince Guaraldi’s compositions in planned.

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1. Cast Your Fate to the Wind

Vince’s impressionistic standard from 1962, Cast Your Fate to the Wind first appeared on his album JAZZ IMPRESSIONS OF BLACK ORPHEUS, a collection based on his interpretations of Antonio Carlos Jobim and Luiz Bonfa’s songs from the film. Vince’s success with Cast Your Fate became the focus of the documentary film ANATOMY OF A HIT, produced by jazz writer Ralph J. Gleason in 1963 for public television in the U.S. As testament to Cast Your Fate’s long-standing appeal, dozens of artists have recorded it through the years. Two notable hit renditions from 1965 include an instrumental version by the Sounds Orchestral with pianist John Pearson, and a vocal version by Steve Alaimo.

This song was Vince Guaraldi’s first hit in 1962-63. It was originally the B side, but the disk jockeys turned it over and played it instead. It has subsequently been recorded as an instrumental and as a vocal by many other artists, including a top 10 hit in 1965 by the Sounds Orchestral with John Pearson on piano. This song led to Vince Guaraldi’s next endeavor scoring the Peanuts® television cartoons.

Vince employed his trademark I to IV to V chord progression on Cast Your Fate to the Wind, and also used it effectively on pieces such as Skating, Treat Street, A Charlie Brown Thanksgiving, and You’re in Love Charlie Brown. This song is in the key of Ab, and to approximate the sound of the bowed bass in the main verse on Vince’s original version, I sometimes pluck a low Ab bass note.

The improvised solo in the middle of this song has been recorded many different ways by various artists. My arrangement includes three parts: after the first short impressionistic section, I play a progression that Vince used in his version of Little Drummer Boy (called My Little Drum on the album A CHARLIE BROWN CHRISTMAS). For the third section, I play the Brazilian folk tune Viro Mundo Penba, as learned from the late, great Brazililan guitarist Bola Sete, who was a great solo guitarist and sometimes a member of Vince Guaraldi’s quartet in mid-1960s. . Vince and Bola first met through jazz trumpet legend Dizzy Gillespie at the 1962 Monterey Jazz Festival and collaborated on three albums for the Fantasy label in the mid-1960s. At the end of the song, the piano is muted by damping the strings with the left hand, while playing the keys with the right.

2. Skating 3:02

In the key of C, Skating was composed for a lyrical moment in A Charlie Brown Christmas where the children are trying to catch snowflakes on their tongues. Vince also recorded another version of the song under the title Snoopy on Ice for the feature film and album A BOY NAMED CHARLIE BROWN.

Two things that Vince was really great at were composing songs with different and distinct sections, as in this song, and he was a master at creating the beautiful texture and dynamic of the actual moment of transition between those sections

3. Linus & Lucy 3:27

Vince’s love for boogie-woogie is reflected in Linus & Lucy, one of his signature tunes. A rollicking left-hand showpiece in the key of Ab, its main melody uses baroque trumpet-type voicings of a major sixth, a fifth, and a major third. A lover of classical music, Charles Schulz promoted the music of Beethoven through the character of Schroeder. For A Charlie Brown Christmas, Vince played part of Für Elise but also gave Schroeder ample opportunity to improvise in a jazz mode. Linus & Lucy lets him do just that during the memorable scene where Schroeder is playing the piano and the kids are dancing while Charlie Brown is trying to get them to rehearse for the annual Christmas play.

Linus & Lucy can be heard in most of Vince’s Peanuts® scores, and it has been issued on three of his albums. His original version appeared on A CHARLIE BROWN CHRISTMAS in 1965, and on (JAZZ IMPRESSIONS OF) A BOY NAMED CHARLIE BROWN in 1964. He also recorded another version of it for his 1968 album OH, GOOD GRIEF!, which featured improvisational jazz versions of eight of his popular Peanuts® pieces, such as The Great Pumpkin Waltz, You’re In Love Charlie Brown, and Peppermint Patty.

I first recorded Linus & Lucy in 1988 for the soundtrack to This Is America, Charlie Brown: The Birth of the Constitution. Of special note - in the touching end scene of This Is America, Charlie Brown: The Music and Heroes of America, Lucy asks Charlie Brown to pick his favorite song of all time. He says that it is by Vince Guaraldi and begins to hum Linus & Lucy. “I cry every time I see that,” Lee Mendelson says. “We did it as a tribute to Vince.”

4. The Great Pumpkin Waltz 3:56

This poignant jazz waltz, in the keys of C minor and Eb, formed the musical centerpiece in the episode It’s the Great Pumpkin, Charlie Brown from October 1966. “By then,” Lee recalls, “I’d turn the storyboards over to Vince and he would go do the music on his own. Once he’d get an idea, he was very spontaneous, as jazz is. He also came up with a few other ideas for the show, such as suggesting the use of the trombone for the voice of the teacher.”

The Great Pumpkin Waltz features Vince’s signature descending chord progression that appears with variations on The Great Pumpkin Waltz, Monterey, C.B and His All-Stars, You’re in Love, CB, Peppermint Patty, Bon Voyage, Remembrance, Theme to Grace and The Red Baron. This progression is basically: flat v minor 7 / iv minor 6 / I (first inversion with 3rd in the bass) / flat iii diminished / ii minor 7 / V7b9, 13 (or 5, 11th).

Waltzes are rare in jazz and four of the best know are This Here by jazz pianist Bobby Timmons from around 1959, Blusette from 1961 by the great jazz chromatic harmonica player and guitarist Jean "Toots" Thielemans composed around 1961, Jitter Bug Waltz by Thomas "Fats" Waller around 1942 and It’s a Raggy Walz by Dave Brubeck from around 1959.

5. Monterey 4:33

This impressionistic portrait of one of California’s most beautiful coastal areas was originally recorded for the rare album VINCE GUARALDI WITH THE SAN FRANCISCO BOYS CHOIR around 1968. It was self-produced by Vince on his own D&D label, named for the first initials of his two children. This song is in G minor and it uses a variation of Vince’s trademark descending chord progression. I sometimes use a slow stride bass with tenth intervals, which I learned from Fats Waller. The introduction, in the key of F, comes from an intro fragment that Vince played on an unissued recording of a live radio broadcast with guitarist Bola Sete in the mid-1960s.

6. A Charlie Brown Thanksgiving 2:29

This is the theme song from the November 1973 special of the same name. In the key of C, the bridge features a G13th chord with right-hand phrases evocative of an early snowfall. Several of the pieces Vince composed for the Peanuts® specials never appeared on any of his albums. This song, along with versions of Eight Five Five, Bon Voyage, and Young Man’s Fancy, are the first recordings of these Guaraldi themes to be issued on an album.

7. Treat Street 4:51

This song was released as the follow-up single to Cast Your Fate to the Wind and appeared on the 1964 album, THE LATIN SIDE OF VINCE GUARALDI (Fantasy F-8360 - out of print). The title refers to the street in San Francisco where the Fantasy studio was originally located.

Treat Street is in the key of C, and I use James Booker’s full left-hand style with a high tonic note and fifths played simultaneously just before the beat, rather than Vince’s left-hand broken octaves.

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8. Eight Five Five 1:22

This cue appeared in the documentary special Charlie Brown and Charles Schulz from 1969. Composed by Vince in the key of C, this slightly expanded version is played in the keys of C and F.

9. The Masked Marvel 5:36

One of Snoopy’s many personas, The Masked Marvel first turned up in September 1969 in the special It Was a Short Summer, Charlie Brown. To score Snoopy’s adventures, Vince made use of a haunting Latin-type minor chord progression using his trademark broken octave bass lines in the left hand. He recorded another version of it for his 1974 album ALMA-VILLE (Warner Bros. WS 1828 - out of print). This song is in the key of F minor and I use the James Booker full left-hand style from the third verse onward. Booker’s influence is especially evident at the end of the second bridge with the F minor to C7th chord sequence, and in the right-hand fills.

10. Charlie Brown and His All-Stars 1:54

This buoyant melody in the key of Ab expresses the irrepressible optimism in the Charlie Brown character. It was written for the 1966 episode of the same name that centered around the Peanuts® gang’s unsuccessful attempts to win a baseball game. “Baseball lent itself well to animation,” Lee Mendelson remembers. “I had just done a documentary on Willie Mays, the world’s greatest baseball player, and wanted to do something on Charlie Brown, the world’s worst baseball player.” This theme was also prominently featured in He’s Your Dog, Charlie Brown (1968), as well as in the 1970 feature film and album, A BOY NAMED CHARLIE BROWN (Columbia Masterworks OS 3500 - out of print). The main melody of this song features a I to VII (here Ab to F#) chord progression that Vince often favored, especially in his Peanuts pieces. This song was also used on the Peanuts® episode called Your in Love Charlie Brown.

11. You’re in Love, Charlie Brown 2:47

Much of Peanuts® is about unrequited love, and Vince’s style was perfect for it. This lilting theme in 3/4 time, in the key of Ab, first appeared in the 1967 special of the same name.

12. Peppermint Patty 3:40

Charles Schulz remains a popular cartoonist because of his remarkable ability to create characters with staying power and to introduce new characters that allow him to explore a wider set of issues. In the late 1960s he brought in Peppermint Patty, and this is the theme Vince wrote for her. It first appeared in You’re in Love, Charlie Brown, and reflects some of the rock influence that Vince absorbed in the late ‘60s, especially in the end progression of Ab, B, F# and G Major chords. Vince wrote this in the key of F, but it is played here in the key of Ab, again using the James Booker left-hand influence.

13. Bon Voyage 1:46

This short piece in the key of D minor first appeared in the episode He’s Your Dog, Charlie Brown, as Snoopy is leaving home. This song uses minor key variations on Vince’s trademark descending chord progression.

14. Young Man’s Fancy 3:52

This melodic ballad in the key of F appeared throughout the fifteenth and last special that Vince scored, It’s Arbor Day, Charlie Brown. It aired in March 1976, just after he passed away.

15. Remembrance 2:20

Vince composed this song, also known as In Remembrance of Me, as part of a commission to celebrate the completion of Grace Cathedral in San Francisco. The project, which resulted in the world’s first jazz mass, was performed on May 21, 1965. The inspired blending of Gregorian chant and jazz improvisation involving Vince’s trio, the pipe organ, and the choir can be heard on the live album, VINCE GUARALDI AT GRACE CATHEDRAL (Fantasy 8367 - out of print).

One of the few solo piano pieces recorded by Vince, Remembrance is in the keys of C minor and F. It features two distinct sections and it captures the essence of San Francisco’s cloudy winter days.

16. Theme to Grace/Lament 4:57

A lyrical melody also from Vince’s jazz mass, Theme to Grace is in the keys of D minor and F. I composed the middle section, Lament, as a tribute to Vince.

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Liner notes by George Winston and Jay Junker
Produced by George Winston, Howard Johnston and Cathy Econom
Recorded by Howard Johnston
Additional Engineering by Maurice Ricks, Nancy Scharlau, Mark Slagle and Adam Muñoz
Mastered by Bernie Grundman at Bernie Grundman Mastering, Hollywood, CA
Art direction by Candace Upman
Photography ©Morton Beebe 1996 San Francisco
Treat Street photography by Lynn Davis

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VINCE GUARALDI’S SELECTED DISCOGRAPHY:

Currently Available Recordings:

1. A CHARLIE BROWN CHRISTMAS (Fantasy 8431)
2. (JAZZ IMPRESSIONS OF) A BOY NAMED CHARLIE BROWN (Fantasy 8430)
3. OH, GOOD GRIEF! (Warner Bros. Records WS 1747)
4. THE CHARLIE BROWN SUITE & OTHER FAVORITES (Bluebird RCA 53900)
5. CHARLIE BROWN’S HOLIDAY HITS (Fantasy 96820
6. THE GRACE CATHEDRAL CONCERT (Fantasy 9678)
7. JAZZ IMPRESSIONS OF BLACK ORPHEUS (Original Jazz Classics OJC-437)
8. JAZZ IMPRESSIONS (Original Jazz Classics OJC-287)
9. A FLOWER IS A LOVESOME THING (Original Jazz Classics OJC-235) - contains five tracks from the album JAZZ IMPRESSIONS and three other tracks
10. VINCE GUARALDI TRIO (Original Jazz Classics OJC-149)
11. LIVE AT EL MATADOR (Original Jazz Classics OJC-289) – with Bola Sete
12. FROM ALL SIDES (Original Jazz Classics 989) - with Bola Sete
13. JAZZ CASUAL – PAUL WINTER/BOLA SETE & VINCE GUARALDI (Koch Jazz KOC CD-8566) – with Bola Sete (the Paul Winter tracks are with his own sextette)
14. THE LATIN SIDE OF VINCE GUARALDI (Original Jazz Classics 978)
15. IN PERSON (Original Jazz Classical 951)
16. VINCE GUARALDI - GREATEST HITS (Fantasy 7706)
    

Other Vince Guaraldi albums (these may or may not be in print):

1. A BOY NAMED CHARLIE BROWN (Columbia OS3500, Columbia Masterworks - out of print)
2. THE ECLECTIC VINCE GUARALDI (Warner Brothers WS-1775 - out of print)
3. ALMA-VILLE (Warner Brothers WS-1828 – out of print)
4. VINCE GUARALDI, BOLA SETE & FRIENDS (Fantasy 8356 – out of print)
5. VINCE GUARALDI WITH THE SAN FRANCISCO BOYS CHORUS (D&D Records –out of print)
6. MODERN MUSIC FROM SAN FRANCISCO (Original Jazz Classic 272) - features tracks by The Vince Guaraldi Quintet as well as Vince Guaraldi Quartet, and Vince also backs up the Ron Crotti Trio
7. THE NAVY SWINGS (unissued live broadcast from 1966) – with Bola Sete
   

Peanuts Animated Specials Scored by Vince Guaraldi

1. A Charlie Brown Christmas (December 1965) - EXCEPTIONAL SCORE
   
2. Charlie Brown and His All-Stars (June 1966)
   
3. It’s the Great Pumpkin, Charlie Brown (October 1966) - EXCEPTIONAL SCORE
   
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) - full-length 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
    
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)
    
15. You’re a Good Sport, Charlie Brown (October 1975)
    
16. It’s Arbor Day, Charlie Brown (March 1976)
    

Selected discography as a sideman (these may or may not be in print):

1. LATIN FOR LOVERS (Fantasy 8016) - with Cal Tjader
   
2. CAL TJADER (Fantasy 3373) – with Cal Tjader
   
3. JAZZ AT THE BLACKHAWK (Original Jazz Classics 436) – with Cal Tjader
   
4. TJADER GOES LATIN (Fantasy 80300 – with Cal Tjader
   
5. LATIN CONCERT (Original Jazz Classics 643) – with Cal Tjader
   
6. BLACK ORCHID (Original Jazz Classics 24730) – with Cal Tjader
   
7. BLACKHAWK NIGHTS (Original Jazz Classics 24755) – with Cal Tjader
   
8. STAN GETZ WITH CAL TJADER (JVC XRCD 218) – with Stan Getz and Cal Tjader
   
9. EXTREMES (Fantasy 24764) - with Cal Tjader
   
10. OUR BLUES (Fantasy 24771) – with Cal Tjader
    
11. VINCE GUARALDI/ FRANK ROSOLINO QUARTET (Premier Records PS 2014) – with Frank Rosolino
12. VINCE GUARALDI AND THE CONTE CANDOLI ALL STARS (Crown Records CST417) – with Conte Candoli
13. THE VINCE GUARALDI/CONTE CANDOLI QUARTET (Premier Records PS 2009)
    

Sheet Music Books:

1. THE VINCE GUARALDI COLLECTION (Hal Leonard Publishing Corporation)
   
2. THE PEANUTS ILLUSTRATED SONG BOOK (Hal Leonard Publishing Corporation)
   

For information see - www.vinceguaraldi.com

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