Vince Guaraldi - Knowledge

624: 33: 1244:", Guaraldi and Zimmerman returned to the room in which they were staying that weekend at the adjacent Red Cottage Inn, to relax before the next set. Zimmerman commented, "Vince was feeling sick to his stomach. He got up to go to the bathroom...and went down on the floor. I tried to bring him around but wasn't successful. It happened so fast." McCain commented, "Vince headed for the bathroom but never made it. When Vince fell and hit the floor, Jim got me. We went back and tried to revive him, but it didn't work." Zimmerman added, "It is very romantic to think of someone going out just after they play. I wish he hadn't." 810:. Mendelson then contacted Ralph J. Gleason, who put him in touch with Guaraldi. Mendelson offered Guaraldi the job of composing the score for the documentary, which Guaraldi gladly accepted. Within several weeks, Mendelson received a call from an excited Guaraldi who wanted to play a piece of music he had just written. Mendelson, not wanting his first exposure to the new music to be marred by the poor audio qualities of a telephone, suggested coming over to Guaraldi's studio. Guaraldi enthusiastically refused, saying "I’ve got to play this for someone right now or I’ll explode!" He then began playing the yet-untitled " 482: 1598:

feel and experience somebody else's artistic expression and then make something of your own which shows empathy, which relates to the other but which still has your own individual artistic stamp. That is what Vince Guaraldi achieved with his scores for Charlie Brown. He took his inspiration from the creations of Charles Schulz and made music that reflects that inspiration, is empathetic with the image and is still solidly and unmistakably Vince Guaraldi."

1405:, a solo piano tribute that included numerous Peanuts compositions, many of which had never been previously released. Winston, deeply influenced by Guaraldi’s unique compositional style, stated, "I love his melodies and his chord progressions. He has a deeply personal way of voicing chords." He added, "His music is part of our culture, and we know it even if we don’t know Vince. He had three bags: the Latin, the 710: 1318:

kid he happened to be about 30. He pushed himself to the limit, whether musically or physically. He saw himself as a very youthful person, but he didn't do any of the physical things you have to do to prepare yourself to live like that." His mother Carmella Guaraldi added, "When it happened down at Butterfield's, when the end finally came, he went the way he would have wanted to go, with the piano."

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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."

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just want to do this; I'm having a good time, and I'm satisfied with it.'" Eddie Duran concurred, saying that "he did talk at times about moving to Los Angeles, but I think he really dug staying in the area, because he was sure of himself. When you're sure of where you are as an artist, you don't seek to go other places and prove it."

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music. I said, 'Oh, God, I don't think that's a good idea.' I begged her not to do it, but she was a strong woman. And they did play it, and I just fell apart; everybody broke up. She was sitting right behind me. I guess it was the right thing to do, but that made the funeral very hard. It was not an

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in San Francisco with bassist Seward McCain and drummer Jim Zimmerman. "We had just come back from a concert we did up in the mountain", recalled Zimmerman, "and Vince had been skiing, and up there carrying on like nothing was bothering him. But once we were back in the studio, he started complaining

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if he felt like he sold out with the song, Guaraldi responded, "I feel I bought in." Guaraldi later commented, "I don't think I'm a great piano player, but I would like to have people like me, to play pretty tunes and reach the audience. And I hope some of those tunes will become standards. I want to

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area, a place that became very important to his blossoming musical career. His last name changed to "Guaraldi" after his mother, Carmela (née Marcellino; 1908–1999), divorced his biological father (whose last name was Dellaglio) and married Tony Guaraldi, who adopted the boy. Growing up, Guaraldi was

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in 1965, commented in 1981, "I think part of Vince's problem was that he never really took very good care of himself. He stayed out late, he smoked, and he did a whole lot of things. He tried everything. I mean, when skateboards first came out, he was the first kid on his block to get one, only as a

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characters. Reflecting on the song in 2008, Mendelson said, "it just blew me away. It was so right, and so perfect, for Charlie Brown and the other characters. I have no idea why, but I knew that song would affect my entire life. There was a sense, even before it was put to animation, that there was

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music became famous, Vince could have gone out and done a whole lot more," Mendelson said. "But he was very provincial; he loved San Francisco, and he liked hanging out and playing at the local clubs. He never branched out from there; he never really wanted to. He'd get offers, but he'd tell me, 'I

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by author and Guaraldi archivist Derrick Bang, was originally published in March 2012, with a second edition released in May 2024. The biography chronicles Guaraldi's career and his contributions to the Northern California jazz scene, and includes a comprehensive discography and filmography, along

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was the music," said Mendelson in 2010. "It gave it a contemporary sound that appealed to all ages. Although Vince had never scored anything else 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

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contributions, noting, "The hardest task an artist faces is not just to achieve self-expression; that almost comes by definition, even if it's difficult to hone that self-expression into something good enough to be art." Gleason continued: "It is another kind of thing altogether to look at, hear,

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Guaraldi married his high school girlfriend, Shirley Moskowitz, on February 1, 1953. She initially filed for divorce on April 21, 1966, which was eventually withdrawn. Moskowitz filed a second time in June 1968, which took effect on December 8, 1970. The union produced two children: David Anthony

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The original Vince Guaraldi Trio consisted of Dean Reilly (bass) and Eddie Duran (guitar), appearing on Guaraldi's first two albums. The second lineup, considered the first of two "classic" trios, featured Monty Budwig (bass) and Colin Bailey (drums). This version of the classic trio appeared on

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became president in 1967, eventually buying the company from original owners Max and Soul Weiss in December of that year. The sale of Fantasy Records to Zaentz resulted in both Guaraldi and the label dismissing the twin lawsuits, leaving Guaraldi a free agent. In 2011, 35 years after Guaraldi's

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sound, and it's just as true today as it was in the 1960s. The compositions themselves are uniformly sparkling; it's as if the jazz pianist and his trio were waiting for this precise inspiration." Mendelson concurred: "There's no doubt in my mind, that if we hadn't had that Guaraldi score, we

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Guaraldi's relationship with Fantasy Records began to sour by 1965 after it was learned he was receiving only five percent of every record sale while Fantasy retained the remaining 95 percent. Guaraldi sued in early 1966 in an effort to sever all relationships with the label; Fantasy promptly

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were sued by Guaraldi's children for engaging in "a system" of "serving false and deceptive statements while underreporting units sold and underpaying royalties." Their lawsuit, filed in December 2011, claimed a private accountant uncovered a discrepancy of at least $ 2 million for the years

777: 1174:—a development that put many jazz musicians out of work—Guaraldi embraced the enemy, adjusting his style and approach to include electric keyboards. By the mid-'70s, he had become a respected veteran in what remained of the declining Northern California jazz club scene." 580:

Guaraldi left the group early in 1959 to pursue his own projects full-time. He might have remained a well-respected but minor jazz figure had Guaraldi not written an original number to fill out his covers of Antonio Carlos Jobim/Luiz Bonfá tunes on his 1962 album,

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Nonet; with Conte Candoli (trumpet), Milton Bernhart (trombone), Herb Ellis (guitar), Monty Budwig, Peter Marshall (bass), Jack Sperling, Jerry Granelli (drums), Victor Feldman (percussion); music and dialogue version (no longer in print); nominated for an

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sequence sans dialogue, employing only music and sound effects to convey Linus and Lucy's search for a pumpkin. Guaraldi recorded a fresh version of "Linus and Lucy" for the opening sequence as a sextet, featuring Budwig and Bailey, as well as trumpeter

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and its successor, the score to the Christmas special, cannot be overstated; rarely has an entertainment icon been so quickly—and firmly—welded to a musical composition...indeed, to an entire body of work from one individual. Guaraldi defined the

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Pianist George DeQuattro recalled years later, "I saw him about a week before he passed away. Vince seemed really fine. But he had seen a doctor because he had stomach problems, and was feeling ill and tired. The doctor told him it might just be

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Nonet; with Conte Candoli (trumpet), Milton Bernhart (trombone), Herb Ellis (guitar), Monty Budwig, Peter Marshall (bass), Jack Sperling, Jerry Granelli (drums), Victor Feldman (percussion); complete soundtrack; limited released of 1,000 copies

605:". A gentle, likeable tune, it stood out from everything else on the airwaves and became a hit, spending 19 weeks on the Top 100 chart and peaking at No. 22—an unusual feat for a jazz instrumental. Guaraldi ultimately won a Grammy for 1855:(guitar), Ron Crotty (bass); some tracks quartet, with Jerry Dodgion (alto sax), Eugene Wright (bass), John Markham (drums); includes additional tracks without Guaraldi; recorded August 1955; re-issued on CD with the addition of the 921:. Guaraldi spent most of summer 1966 composing cues for the Halloween-themed special, strongly encouraging Mendelson to consider making "Linus and Lucy", which had been featured prominently in the Christmas special, the unofficial 655:(drums). This began a period of collaboration between Guaraldi and Sete where Guaraldi began experimenting with bossa nova-influenced music as well as with the electric piano. An appearance on Ralph Gleason's television series 1633:

was screened at a variety of jazz and film festivals. The documentary highlighted newly discovered and restored footage of Guaraldi's appearances and recording sessions and featured new performances and insights from Winston,

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shows, and I said that I didn't know what the next one would be yet, but that we wouldn't start until he got back. But he also said he wasn't feeling well, and had gone to see the doctor. The doctor thought Vince might have a

2394:– Trio; with Peter Marshall (bass), Bob Belanski (drums); "Cast Your Fate to the Wind" (live) – Quartet; with Eddie Duran (guitar), Fred Marshall (bass), John Waller (drums); mix of unreleased live and studio-based tracks; 694:. This experimentation may have led to the loss of Fred Marshall, who left the group in 1964 citing "personal differences" after Guaraldi purportedly threw a cup of coffee at Marshall during the 17th Berkeley Jazz Festival. 6882: 2505: 1461: 725:. Utilizing his Latin influences from his bossa nova days with Sete, Guaraldi composed a number of pieces with waltz tempos and jazz standards. The performance was recorded on May 21, 1965, and released that September as 840:) in October 1964 and released in December of that year. Although the documentary was ultimately shelved due to Mendelson's inability to secure sponsorship, Schulz and Mendelson retained Guaraldi for the upcoming 5499: 2514:

Sextet; with Tom Harrell (trumpet), Chuck Bennett (trombone), Pat O'Hara (flute), Seward McCain, Peter Marshall (bass), Mike Clark, Glenn Cronkite, Mark Rosengarden, Al Coster (drums); includes music cues from

1499:, Mendelson's children uncovered the original 1966 analog session reels, containing nearly all of Guaraldi’s original music cues and alternate takes. This discovery enabled a more complete re-release of 6874: 3889: 2463: 1457: 1206:. The evening before, he had dined at Mendelson's home and was reportedly not feeling well, complaining of indigestion-like chest discomfort. "He was about to do his first cruise. He'd be able to play 1104:

critic Joseph Kyle lamented, "frustrated and unable to secure a record deal, he spent the remainder of his life as a live performer, recording more soundtrack material, and banking on the goodwill his

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During the period of flux with Fantasy in 1967, Guaraldi formed his own record label, D & D (named after his children, David and Dia), and released his only album on the label in December 1967,

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Guaraldi's death was a blow to his friends, family, and colleagues. "It was totally unexpected," said Mendelson. "The day before the funeral, Carmella called and said that they wanted to use the

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Capitalizing on this renewed interest, Guaraldi’s son, David, began licensing previously unreleased material from his father’s personal reel-to-reel tapes. This effort resulted in the release of

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Guaraldi then reunited with Tjader in August 1956 and was an integral part of two bands that the vibraphonist assembled. The first band played mainly straight jazz and included Al Torre (drums),

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Guaraldi used a variety of sidemen throughout his career. His main preference was playing as a trio, although this number would increase depending on the needs of a song, live performance or

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Guaraldi (b. August 11, 1955) and Dia Lisa (b. February 16, 1960). Guaraldi had a long-term affair with Gretchen Glanzer, later Katamay, with whom he appeared on the cover of his 1964 album,

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Quartet; with Eddie Duran, Herb Ellis (guitars), Sebastio Nero (bass guitar), Kelly Bryan, Monty Budwig (bass), Colin Bailey, Dom Um Romao, Al Coster (drums), Rubens Bassini (percussion)

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Quintet; with Eddie Duran (guitar), Tom Beeson, Kelly Bryan, Roland Haynes (bass), Lee Charlton, John Rae (drums); Vince Guaraldi Consort: John Gray (guitar), Frank Rosolino (trombone),

4819: 3550:(a 1967 session from the Verve Records archive; the "Black Orpheus" incarnation of Guaraldi's trio supports the two leaders recorded live from "The Jazz Workshop" in San Francisco, CA.) 1061:. Though deemed a focused improvement over the previous album, Warner did not promote the album, ultimately choosing not to retain Guaraldi at the end of their three-record deal. Both 2472:

Sextet; with Tom Harrell (trumpet), Chuck Bennett (trombone), Pat O'Hara (flute), Seward McCain (bass), Mike Clark, Glenn Cronkite, Mark Rosengarden (drums); includes music cues from

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Quartet; with Vince Denham (saxophone), Koji Kataoka (bass), Mike Clark (drums); mix of unreleased live and studio-based tracks; live tracks recorded at In Your Ear Jazz Club in

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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."

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in April 1957, again featuring Duran and Reilly and again without a drummer. The album, released in October 1957, did not perform well, and Fantasy did not retain Guaraldi.

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The following morning, on February 6, Guaraldi awoke with a bad cold and remained in bed throughout the day. That afternoon, Guaraldi finished recording the soundtrack for

2145:(trumpet), John Gray (guitar), Ronnie Lang (woodwinds), Monty Budwig (double bass), Colin Bailey (drums); complete soundtrack sourced from master recordings released 2022 7377: 1271:, and prescribed some dumb medicine and told him to forget about it. But it wasn't that, and it's really a shame. That would never happen today." In his 2012 biography, 4526: 1767:. The second of two classic trios featured Fred Marshall (bass) and Jerry Granelli (drums). This incarnation was featured on more albums than any other trio, including 1495:, though it relied on tracks sourced from the television broadcast, as the original master tapes remained missing, leading to some disappointment. However, during the 1427:

noted, "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

4934: 1279:—or something else—had played a role in that heart attack", adding that Guaraldi's "complaint of a painful stomach ache clearly hadn't been taken seriously enough." 1617:

television specials were a novel idea in cartoon scoring, yet seemed to perfectly fit the deceptively sophisticated adventures of Charlie Brown and the rest of the

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where he was pronounced dead on arrival at 11:07 p.m. The official cause of death was certified as "acute myocardial infarction, due to or as a consequence of

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Guaraldi biographer and historian Derrick Bang put the musician's later years in perspective, saying, "As jazz clubs were closing in the 1960s, with the advent of

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person, and he seemed to have an endless supply of good fortune. It seemed everything he touched turned into money or opportunity. I simply couldn't believe it."

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2005–2010 alone. When asked if the alleged wrongdoing goes back decades further, the Guaraldi family's attorney Alan Neigher responded, "Well, we hope it does."

1803: 1159:(1975), Guaraldi's penultimate music score, fused his fusion jazz style with the funk, disco and pop music that was popular at the time coupled with the use of 7263: 6930: 1380: 7255: 7027: 6783: 5639:"Ron Crotty / Jerry Dodgion / Vince Guaraldi / The Vince Guaraldi Quartet / The Jerry Dodgion Quartet / The Ron Crotty Trio: Modern Music from San Francisco" 2907: 2130: 1775: 1621:

gang. His originals were some of the best jazz to come from the West Coast scene and a tribute to what can happen when a great muse hits a gifted composer."

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in 2010. "It was the last thing I could think of, that Guaraldi would die. It blew my mind. I'm still saddened, when I think of him, because he was such an

493:'s Mambo Trio. The songs—"Chopsticks Mambo", "Vibra-Tharpe", "Three Little Words" and "Lullaby of the Leaves"—were released in December 1953 on the 10-inch 4200: 1185:. He continued to perform at small, local clubs out of a desire to do so rather than financial necessity. The monumental success garnered from Guaraldi's 6938: 2658: 1096: 4586: 7157: 6807: 6799: 6735: 5591: 3918: 3864: 3764: 3266: 2222: 2180: 2004: 1688: 1517: 1511: 750: 489:

Guaraldi's first recording was an unreleased demo made with Tom Hart in mid-1951. Guaraldi's first official recording was made in November 1951 with

7231: 609:. Guaraldi never minded taking requests to play it when he appeared live. "It's like signing the back of a check," he once remarked. When asked by 1716:

as a double act. During the 1970s, Guaraldi himself performed guitar when necessary but otherwise did not retain a sideman to fill the position.

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critic David Rickert credited Guaraldi for introducing many to the world of jazz music "before we even knew what it was. 's soundtracks for the

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electric keyboards. His live performances included musicians who specialized in funk and soul as well as traditional jazz. Posthumous releases

7317: 7189: 7185: 7164: 7098: 6719: 3639: 3137: 1962: 1409:, and the impressionistic 'Cast Your Fate to the Wind' stuff. And those three bags are all his." The album’s success led to a second volume, 828: 5458: 4555: 6981: 6850: 5284: 5018: 4717: 2796: 2376: 1472: 1436: 6113: 7407: 7352: 7223: 6554: 1401: 1155: 467: 111: 7442: 7402: 3933: 2480: 946:. Lang's flute counterpoint was featured throughout the new version of "Linus and Lucy", resulting in the song ultimately becoming the 6606: 6791: 3975: 2167:(trumpet, brass arrangements), John Gray (guitar), Ronnie Lang (woodwinds), Chuck Bennett (trombone), Seward McCain (electric bass), 2154: 1505: 1012:

material. This was done in part to fill the void left by a lack of soundtrack albums to accompany the successful television specials

7312: 7207: 6655: 4016: 3709: 2535: 2333: 1020: 917: 7322: 1705:, Dean Reilly, Fred Marshall and Tom Beeson. During the 1970s, Guaraldi performed with Koji Kataoka and primarily Seward McCain. 1322: 540:, delivering energetic performances on a regular basis−a sharp contrast from the quiet recordings featured on his debut release. 1479:

A significant milestone occurred in 2017 with the discovery of Guaraldi’s original master recordings of the 1969 feature film,

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had achieved double-platinum status, with sales continuing to rise following Concord’s acquisition of Fantasy Records in 2004.

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compositions earned him." Guaraldi's sound also evolved into a more fusion jazz/rock sound, as he largely traded the piano for

1081: 851: 4736: 4513: 3557:(Guaraldi performs on four tracks in 1958 with Cal Tjader's group featuring Santamaria, Bobo, McKibbon, and guest clarinetist 7382: 7342: 7080: 7003: 6564: 6404: 6379: 4070: 3621: 3109: 2839: 2492: 1769: 798: 643: 907:—was televised in June 1966 to similarly high ratings and acclaim. It was at this point that Schulz, Mendelson and animator 7427: 7422: 7412: 7347: 7327: 6834: 4942: 4195:

Guaraldi's response, "I feel I bought in" was reimagined as the slogan "He's not selling out: he's buying in" for the 2011

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wave, but it was destined to sink without a trace when radio DJs began turning it over and playing the B-side, Guaraldi's "

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soundtrack for his interest in jazz. In 1985, Benoit recorded a cover of Guaraldi's "Linus and Lucy" for an album called

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Quintet; with Monty Budwig, Fred Marshall (bass), Jerry Granelli, Nick Martinez (drums); additional: Bola Sete (guitar)

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Trio; with Fred Marshall (bass), Jerry Granelli (drums); various others on some tracks; reissued with extra material as

1440:, a 1969 live performance of the seven-part "Charlie Brown Suite," followed by a series of archival releases including 1248: 1143: 1036:. Guaraldi responded with new renditions of eight of his most popular scores from those programs on his first release, 7437: 7357: 7054: 6703: 5228: 3019: 2359: 1911: 1572: 1530: 583: 1674:. Gleason commented, "let's just agree that Vince Guaraldi re-invented the sound of the modern American Christmas." 721:

Shortly after this time, Guaraldi was invited to compose a "jazz mass" with the Eucharist chorus of San Francisco's

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Trio; with Tom Beeson (bass), Lee Charlton (drums); additional: Bola Sete (guitar); recorded live in May–June 1965

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Quartet; with Eddie Duran (guitar), Andy Acosta (bass), Al Coster (drums); recorded live at the Old Town Theater,

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initially regarded the stunning success of the project as something of a one-time fluke, but the second official

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Sextet; with Eddie Duran (guitar), Eugene "Puzzy" Firth (bass), Pete Magadini (drums) (brass personnel unknown)

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became Guaraldi's regular drummer for live performances during the 1970s. Other drummers included Lee Charlton,

1109: 445:. He died of a heart attack on February 6, 1976, at age 47, moments after concluding a nightclub performance in 6361: 4038: 2758: 2541: 2349:(1975); version of "Joe Cool" included is not a Guaraldi song; it is a composite of two music cues composed by 2345: 1008:. Warner signed Guaraldi to a three-record deal in early 1968, insisting that his inaugural release consist of 722: 471: 299: 116: 5638: 7397: 7076: 6898: 5310: 3684: 3090: 2577: 1603: 1014: 903: 680:

Guaraldi decided to experiment with combining Latin jazz and orchestral instrumentation on his next release,

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served steadily throughout the 1950s and 1960s, save for mid-1963–65 when Guaraldi teamed up with guitarist

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Guaraldi's first recorded debut as a group leader occurred in August 1955 during a live session held at the

7372: 6695: 6648: 5415: 5333: 5140: 3961: 3879: 2486: 2339: 2092: 1893: 1727: 1149: 984:(both the unaired documentary and feature film) received official soundtrack releases during his lifetime. 568: 335: 6470: 6445: 6420: 4231: 7387: 6751: 6687: 5214: 3477: 2677: 2046: 1871: 1721: 1662:. The documentary was co-produced by Toby Gleason (son of Ralph J. Gleason) and filmmaker Andrew Thomas. 1047: 671:. A live performance recorded at the El Matador jazz club in Spring 1965 was released in October 1966 on 532: 516:. Of the tracks recorded, two of them ("Ginza" and "Calling Dr. Funk" the former recorded as part of the 5482: 1189:

work resulted in lucrative offers coming in from all over the U.S., all of which he declined. "Once the

547:(bass) and Luis Kant (congas and bongos). The second band was formed in the spring of 1958 and included 7058: 3968: 3000: 2982: 2168: 1740: 1582: 1303: 602: 481: 458: 434: 173: 4265: 3939:

Quintet with Tom Harrell (trumpet), Pat O'Hara (flute), Seward McCain (bass), Glenn Cronkhite (drums)

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and Jose "Chombo" Silva were also added to the group for certain live performances and recordings.

3795: 6641: 5550: 4147:(trumpet), Milton Bernhart (trombone), Herb Ellis (guitar), Monty Budwig, Peter Marshall (bass), 3568:(previously unreleased live performance with the Tjader quintet, featuring between-session audio) 2913: 2032: 1563: 1363: 1182: 1001: 611: 319: 6523: 5245: 4691: 7171: 7153: 7120: 6124: 4593: 3632: 3334: 3327: 3275: 3173: 2732: 2564: 1925: 1732: 1671: 1419:, unreleased following Winston's death in June 2023. Reflecting on Guaraldi's influence on the 1237: 1045:

Guaraldi was then given complete artistic control over his second self-produced Warner effort,

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soundtrack. The largest confluence of musicians occurred in 1969 for soundtrack recordings of

466:, both of whom headed jazz big bands in San Francisco for many years. Guaraldi graduated from 7091: 6922: 6344: 6325: 6306: 6287: 6269: 6250: 6231: 6212: 6193: 6174: 6155: 6100: 6081: 6063: 6045: 6027: 6009: 5990: 5971: 5951: 5907: 5846: 5827: 5808: 5789: 5771: 5752: 5730: 5711: 5692: 5672: 4965: 3440: 3062: 2806: 2736: 2641: 2417: 1203: 7307: 7302: 7124: 3539: 3481:(all-star studio session that includes a long/extended version of Guaraldi's piece "Ginza") 3180: 2784: 1666:

was the recipient of five "Best Documentary" awards, and was a special presentation at the

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scoring opportunities plus royalties from previous work allowed him to live comfortably in

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television specials plus one feature film, and was responsible for their signature theme, "

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recorded live with Amici Della Musica at Mr. D's, San Francisco, California, May 18, 1969

866:". Both the seasonal television special and accompanying soundtrack were very successful. 8: 7215: 6890: 6866: 4521: 2664: 2554: 2433: 1667: 1448: 1164: 1130: 686:(1964). For the album's orchestrations, Guaraldi turned to Jack Weeks, son of bandleader 505:(guitar) and Dean Reilly (double bass), and regularly performed in the house band at the 324: 4794: 3489: 2603:

version of "Sally's Blues" included is not a Guaraldi song; it is music cue composed by

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drew greater attention to the Guaraldi/Sete collaboration (the episode was posthumously

552: 7113: 7109: 7019: 6965: 6617: 5159:"Searching for Answers: the Death of Vince Guaraldi (Continually Updated for New Info)" 3735: 3231: 3164: 2885: 2748: 1314: 807: 727: 673: 475: 2608: 2354: 933:. Melendez responded to Guaraldi's suggestion by beginning the special with a lengthy 6906: 6883:

Vince Guaraldi and the Lost Cues from the Charlie Brown Television Specials, Volume 2

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Vince Guaraldi and the Lost Cues from the Charlie Brown Television Specials, Volume 2

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Vince Guaraldi and the Lost Cues from the Charlie Brown Television Specials, Volume 2

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Vince Guaraldi and the Lost Cues from the Charlie Brown Television Specials, Volume 2

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Vince Guaraldi and the Lost Cues from the Charlie Brown Television Specials, Volume 2

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Quintet; with Tom Harrell (trumpet), Chuck Bennett (trombone), Seward McCain (bass),

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Vince Guaraldi and the Lost Cues from the Charlie Brown Television Specials, Volume 2

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Vince Guaraldi and the Lost Cues from the Charlie Brown Television Specials, Volume 2

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music on the ship, and he was excited about that. We talked about the cruise and the

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feature both studio and live performances recorded during this period of transition.

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Octet; with Eddie Duran, Robert Addison (electric guitars), Peter Marshall (bass),

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pianist best known for composing music for animated television adaptations of the

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Quartet; with Eddie Duran (guitar), Stanley Gilbert (bass), Carl Burnett (drums)

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The revival of interest in Guaraldi's oeuvre began in 1985, catalyzed by pianist

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Trio; with Eddie Duran (guitar), Dean Reilly (bass); recorded on April 16, 1957

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comic strip. His compositions for this series included their signature melody "

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Guaraldi's final three albums released during his lifetime were recorded for

908: 803: 741: 589: 544: 433:'s 1950s ensembles and for his own solo career. Guaraldi's 1962 composition " 358: 5019:"Vince Guaraldi: The Complete Warner Bros.–Seven Arts Recordings (Omnivore)" 7178: 6875: