Vince Guaraldi
David Cary
there some others that you could recommend that have a similar sound
and "feel" to them?
Sent via Deja.com http://www.deja.com/
Before you buy.
WGowersW
and "You're a Good Boy Charlie Brown".
I would recommend any trio recordings by pianist Bill Evans. He has a
similar touch and voicing concept as Vince Guraldi.
Bill Gowers
*****************************
<8unfos$p3h$1...@nnrp1.deja.com>,
--
Ralf Wacker
news:8unfos$p3h$1...@nnrp1.deja.com...
> > Greetings. My wife just loves the Vince Guaraldi "Peanuts" discs.
> > Are there some others that you could recommend that have a similar
> > sound and "feel" to them?
"WGowersW" <wgow...@my-deja.com> schrieb im Newsbeitrag
news:8uopcs$nso$1...@nnrp1.deja.com...
> I also enjoy the Peanut's discs. I have "A Charlie Brown Christmas"
> and "You're a Good Boy Charlie Brown".
<snip>
My favourite is
Happy Anniversary, Charlie Brown - GRP-9596-2 from 1989
a lot of fun, good memories and excellent sound ***(*)
the new one
David Benoit: Here's to you, Charlie Brown: 50 Great Years - GRP Verve
1999
is an - lets say **(*) [of five stars]
Another recommendation - please no flames ! -
Ellis Marsalis: Joe Cool's Blues - Columbia / Sony 1994
A little bit more jazz, but still the feeling ***(*)
Ralf Wacker, Steinen, Germany
-------------------------------------------------------
today at the player
Richard Galliano: Concerts Inédits - Dreyfus Jazz / 1996
Enrico Rava / Ran Blake: Duo En Noir - between the lines oHG / 1999
JC Martin
-JC
David Cary <team...@my-deja.com> wrote in message
news:8unfos$p3h$1...@nnrp1.deja.com...
Ryo Katagiri
Have fun exploring:
Abdullah Ibrahim - AFRICAN PIANO
Keith Jarrett - TREASURE ISLAND
(Mixed bag of influences, some nice surprises)
Keith Jarrett - THE KOLN CONCERT
(Alot of Jarrett's 1970's years recordings have a similar feeling you may be
looking for...)
Horace Silver - HORACE-SCOPE
(A rare case of jazz having true laughter. Vince's playing in the 1950s was
very Silverish)
Thelonious Monk - MONK'S DREAM
(Vince was a huge fan of Monk.)
Frank Rosolino - FRANK ROSOLINO QUINTET
(Featuring a very young Guaraldi. One of Vince's bosses and an unsung hero
of joy in jazz music, with all the irony that that statement brings)
Since Vince almost inevitably gets tagged with 'white uppermiddleclass
retro-Space Age lounge' these are some musical affinities -that may tickle
your palate- of a more unexpected nature.
-Ryo
P.S.Guaraldi was also very influenced by the piano work of Red Garland,
Wynton Kelly, and Horace Silver. Check some of these guys out as an
alternative to your friendly neighborhood fuzzy-wreath and mistletoe
tidings...
"David Cary" <team...@my-deja.com> wrote in message
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Ryo Katagiri
"Adam Bravo" <mra...@home.com> wrote in message
news:qvHQ5.252498$3E6.2...@news1.alsv1.occa.home.com...
> Jazz Impressions of Black Orpheus, as JC said. Also, "In Person." Any of
his
> others are great also, but I don't know exactly what your wife likes. Try
> his ones with Bola Sete. Also, the Charlie Brown cartoon series is still
> run!
Yeah, the first copy of "In Person" I bought as a used promo vinyl in mono
for about $20. It was practically inaudible; it sounded as though midday
traffic had landed on it with scars to bear witness, but through the clicks
and scratches and less-than-great 'live' sound, a beautiful performance of
"On Green Dolphin Street" stayed with me for many years. And his jaunty
original "Free Way" sort of gives a hint of where he was about to go when
Charles Schulz and Lee Mendelson gave him a telephone ring one San Francisco
afternoon from a TV studio in the early 60s. Now that it's been rereleased
it's in great shape. You wish there was more live material but the only
other live Guaraldi set is the one with guitarist Sete at the El Matador
club. That's now part of a combo CD called VG, Bola Sete & Friends. It's
not necessarily the finger-snapping toe dancers of the earlier records but a
case of two musicians really exploring each other out.
Still, next to BLACK ORPHEUS, the best and most well-represented album by
Guaraldi is the one he did in 1974 just before he died called "Alma Ville."
Warner Bros hasn't reissued it but it's well worth a search and it has sure
enough a Peanuts tune to open the record up. Aside from that there's a nice
cover of "Cristo Redentor," a remake of a tune from ORPHEUS, and
surprisingly, an affectionate, touching rendition of "Eleanor Rigby." By
the late 60s L&M had well entered Guaraldi's performance book.
Again if you like the spirit of the music by all means, try a few of the
suggestions I posted earlier in the thread.
Best,
RK
Adam Bravo
PRProf
for years. Need to dig that out. Have one other Guaraldi disk than Orpheus,
but can't remember what it is right now.
Bill
Ryo Katagiri
"PRProf" <prp...@aol.com> wrote in message
news:20001115231620...@ng-mk1.aol.com...
Yeah, 'Almaville' is one of those albums that makes you wish he recorded
more often during that period. Between the first Warner Bros album and the
last there's only one other record ('The Eclectic...') and between them
there's a five year gap. Vince had the potential to do more with himself,
it's unfortunate he didn't see the worth in touring more or doing more than
trio work. The impromptu 'jams' that became the soundtracks to some of the
early Peanuts specials for example have a bit of bari or trumpet playing.
Surprising, even more that some of that trumpet work was by a young Tom
Harrell. All those musicians who guested on that show were brilliant
soloists. I think, like Evans or some other pianists he was afraid his
sound would get overwhelmed by a horn.
I don't know about you but to me his 1950s trio stuff is very distinctive...
almost like a different musician altogether. What do you think of those
albums like A FLOWER IS A LOVESOME THING or VINCE GUARALDI TRIO? Have you
listened to them?
-Ryo
Ryo Katagiri
The cut 'Almaville' from the 1974 album is actually an almost bar-for-bar
remake of the performance on the original BLACK ORPHEUS, with Herb Ellis'
guitar joining in on the solo, and overall it's a bit more uptempo on this
one. I always likened these sort of tunes as Vince's true music - the
uncategorizable, exuberant, joyous gait he had on the piano when he could
allow himself to let loose.
> > Surprising, even more that some of that trumpet work was by a young Tom
> > Harrell.
>
> I heard my jazz band teacher talking about Harrell, and the principal of
the
> school also. I knew I had heard of him somewhere.
I keep missing opportunities (or somehow avoiding them) to see Tom Harrell
perform live. He's one of the most well-respecte trumpeters of his
generation, as I'm sure alot of rmb'ers here would testify. Although not
credited I think at times even Vince's former boss Cal Tjader made a few
Peanuts appearances in the late 60's.
> > I don't know about you but to me his 1950s trio stuff is very
> distinctive...
> > almost like a different musician altogether. What do you think of those
> > albums like A FLOWER IS A LOVESOME THING or VINCE GUARALDI TRIO? Have
> you
> > listened to them?
>
> I think it is different too. Some songs are great, but I think Guaraldi
> could have done better on the ballads. I never liked any of his ballads. I
> also wish there were drums. But Eddie Duran's guitar playing is great on
> those. In general, they are quite good.
Isn't that something. I actually feel his ballad-work is the most
interesting early on - then it gradually becomes what he's most associated
with - that Charlie Brown Christmas music - which I was never too crazy
about to begin with. I'm thinking of tunes like 'Chelsea Bridge,' 'A Flower
is A Lovesome Thing,' and his solo version of 'Autumn Leaves.' Eddie
Duran's guitarwork is always such a welcome sound on those recordings. I
saw him recently in San Francisco on a visit and had a chance to chat with
him and his wife Madeline and they were just going duo, on tenor and guitar.
They played Vince's 'Ginza' as a request for me.
Although I see what you mean - he tended to stick to certain bad habits on
the keyboard on the piano - a sign of not having done enough homework,
maybe??? In his group session work around the same time we're talking
about he almost sounds like Horace Silver at times, very animated, and
rhythmic left-hand. I think alot of ORPHEUS came off the steam of that
energy. But after that, record after record I don't think Vince was
challenged enough. Whether at fault of the record company (Fantasy) or his
own doing, he should have made more demands on himself. Guaraldi doesn't go
down in the books as a major player, but like Frank Rosolino one of his
employers, he had something I feel few people have even now, a free-feeling
honesty and humor of approach. My thoughts: At his best he was a lyrical,
infectiously bluesy player, up there with Kelly, in there with Garland, and
sometimes better than the reknown technical players in terms of emotional
delivery.
A short list of Guaraldi listeners: Ray Bryant, Kenny Drew. Jr., Brad
Mehldau, Ellis Marsalis (especially Ellis), LeeAnne Ledgerwood, and a host
of others, all having something respectful to say to Vince....
'Almaville' is an almost retrospective; there's a slice of about every genre
he touched - the original Schulz cartoon music - the latin-tinge (Cristo
Redentor), the great original tunes (Detained in San Ysidiro - a fun romp),
the bossas (Rio From the Air) and some Lennon and McCartney to boot. Try
Dusty Groove online, they're always stocking great original vinyl at very
reasonable prices. By the way, any thoughts on the listening list I
posted earlier?
Best,
Ryo
Adam Bravo
news:8v01qq$fu0$1...@slb1.atl.mindspring.net...
>
> "PRProf" <prp...@aol.com> wrote in message
> news:20001115231620...@ng-mk1.aol.com...
> > Thanks for reminding me; have a great vinyl copy of Alma Ville I haven't
> played
> > for years.
LUCKY! Is the song Alma-Ville the same version from Black Orpheus?
> Surprising, even more that some of that trumpet work was by a young Tom
> Harrell.
I heard my jazz band teacher talking about Harrell, and the principal of the
school also. I knew I had heard of him somewhere.
> I don't know about you but to me his 1950s trio stuff is very
distinctive...
> almost like a different musician altogether. What do you think of those
> albums like A FLOWER IS A LOVESOME THING or VINCE GUARALDI TRIO? Have
you
> listened to them?
I think it is different too. Some songs are great, but I think Guaraldi
Ryo Katagiri
"Adam Bravo" <mra...@home.com> wrote in message
> > Although not credited I think at times even Vince's former boss Cal
Tjader
> made a few
> > Peanuts appearances in the late 60's.
>
> By the late 60's, I thought Guaraldi had gone more electric (which I
don't
> like), and Tjader wouldn't fit, but oh well.
Yeah, by 1967 he was playing a rinky instrument called an "electric
harpsichord." I posted the question many months ago and had some very
professional feedback from this newsgroup about what exactly that was.
Needless to say it didn't help Vince's career much...
> > Isn't that something. I actually feel his ballad-work is the most
> > interesting early on - then it gradually becomes what he's most
associated
> > with - that Charlie Brown Christmas music - which I was never too crazy
> > about to begin with.
>
> You said you liked Alma-Ville, and everyone finds that a bit Charlie
> Brown-like.
Of course! I was only referring to the soundtrack to the music to the
special "A Charlie Brown Christmas," something I never took a warming to,
even with that performance of 'The Christmas Song' on it. I'm a huge fan of
the music he scored for Charles Schulz's primetime specials in general, just
not A CB X'mas.
>
> I'm thinking of tunes like 'Chelsea Bridge,' 'A Flower
> > is A Lovesome Thing,' and his solo version of 'Autumn Leaves.' Eddie
> > Duran's guitarwork is always such a welcome sound on those recordings.
I
> > saw him recently in San Francisco on a visit and had a chance to chat
with
> > him and his wife Madeline and they were just going duo, on tenor and
> guitar.
> > They played Vince's 'Ginza' as a request for me.
>
> One of my favorites. Stan Getz and Cal Tjader have that on a CD (which has
> the two stars in addition to Billy Higgins, Scott LaFaro, Guaraldi and
> Duran. Whew!)
Talk about an amazing line-up. Guaraldi was always with the choicest
musicians.... I hear among his professional friends were also Shelly Manne
and Paul Desmond whenever they were in town. And bassist Monty Budwig's
been with Jimmy Rowles, hasn't he?
> > But after that, record after record I don't think Vince was
> > challenged enough. Whether at fault of the record company (Fantasy) or
> his own doing, he should have made more demands on himself.
>
> What exactly do you mean by that? Larger groups? More arrangement? I guess
I
> would agree.
I always liked the sound of a little trumpet or a saxophonist giving weight
to Vince's sound. It's a pity that he never recorded with such players
after the "Black Orpheus" years. "Black Orpheus" was one of the last
'straight-ahead' performances he recorded. Then there were 'concept' albums
one after another. I think his team-ups with Bola Sete were wonderful but I
yearned to hear Vince more with a strong jazz theme.
Vince was a great spontaneous player, lots of feeling, but I think his
shortcomings as a pianist became pretty evident when there wasn't a good
production driving the recording. Stronger arrangement, with more breadth
of ideas, yeah. More standards covers, too. He would play songs like "You
Don't Know What Love Is" in the clubs but never made records with them.
Bright Moments,
Ryo
P.S. Here's the list. Back when the original poster asked for some Guaraldi
suggestions, I gave him a little unusual list of recordings that to me,
somehow shared in that spirit:
Adam Bravo
>
> remake of the performance on the original BLACK ORPHEUS, with Herb Ellis'
> guitar joining in on the solo, and overall it's a bit more uptempo on this
> one. I always likened these sort of tunes as Vince's true music - the
> uncategorizable, exuberant, joyous gait he had on the piano when he could
> allow himself to let loose.
Herb Ellis? Wow.
> I keep missing opportunities (or somehow avoiding them) to see Tom Harrell
> perform live. He's one of the most well-respecte trumpeters of his
> generation, as I'm sure alot of rmb'ers here would testify.
I have some of his Peanuts track, and they aren't trumpet centered at all,
but they are catchy.
> Although not credited I think at times even Vince's former boss Cal Tjader
made a few
> Peanuts appearances in the late 60's.
By the late 60's, I thought Guaraldi had gone more electric (which I don't
like), and Tjader wouldn't fit, but oh well.
> > I think it is different too. Some songs are great, but I think Guaraldi
> > could have done better on the ballads. I never liked any of his ballads.
I
> > also wish there were drums. But Eddie Duran's guitar playing is great on
> > those. In general, they are quite good.
>
> Isn't that something. I actually feel his ballad-work is the most
> interesting early on - then it gradually becomes what he's most associated
> with - that Charlie Brown Christmas music - which I was never too crazy
> about to begin with.
You said you liked Alma-Ville, and everyone finds that a bit Charlie
Brown-like.
I'm thinking of tunes like 'Chelsea Bridge,' 'A Flower
> is A Lovesome Thing,' and his solo version of 'Autumn Leaves.' Eddie
> Duran's guitarwork is always such a welcome sound on those recordings. I
> saw him recently in San Francisco on a visit and had a chance to chat with
> him and his wife Madeline and they were just going duo, on tenor and
guitar.
> They played Vince's 'Ginza' as a request for me.
One of my favorites. Stan Getz and Cal Tjader have that on a CD (which has
the two stars in addition to Billy Higgins, Scott LaFaro, Guaraldi and
Duran. Whew!)
> Although I see what you mean - he tended to stick to certain bad habits on
> the keyboard on the piano - a sign of not having done enough homework,
> maybe??? In his group session work around the same time we're talking
> about he almost sounds like Horace Silver at times, very animated, and
> rhythmic left-hand. I think alot of ORPHEUS came off the steam of that
> energy. But after that, record after record I don't think Vince was
> challenged enough. Whether at fault of the record company (Fantasy) or
his
> own doing, he should have made more demands on himself.
What exactly do you mean by that? Larger groups? More arrangement? I guess I
would agree.
> My thoughts: At his best he was a lyrical, infectiously bluesy player, up
there with Kelly, in there with Garland, and
> sometimes better than the reknowned technical players in terms of
emotional
> delivery.
Again, I agree.
> 'Almaville' is an almost retrospective; there's a slice of about every
genre
> he touched - the original Schulz cartoon music - the latin-tinge (Cristo
> Redentor), the great original tunes (Detained in San Ysidiro - a fun
romp),
> the bossas (Rio From the Air) and some Lennon and McCartney to boot. Try
> Dusty Groove online, they're always stocking great original vinyl at very
> reasonable prices. By the way, any thoughts on the listening list I
> posted earlier?
Uh, I didn't see it. When did you post it?
Happy listening!
Adam
Marc Parrish
..since this is a Vince Guaraldi thread, I thought I might ask if
anyone hear knows where I might find a version of "Cast Your Fate to
the Wind" with vocals ... I found a copy of the sheet music, and there
were some very nice lyrics penned by Carel Werber to go with the
piece..
thanks
Marc
Thomas F Brown
Ryo Katagiri <manj...@mindspring.com> wrote:
>P.S. Here's the list. Back when the original poster asked for some Guaraldi
>suggestions, I gave him a little unusual list of recordings that to me,
>somehow shared in that spirit:
>
>Abdullah Ibrahim - AFRICAN PIANO
>Keith Jarrett - TREASURE ISLAND
>(Mixed bag of influences, some nice surprises)
>Keith Jarrett - THE KOLN CONCERT
>(Alot of Jarrett's 1970's years recordings have a similar feeling you may be
>looking for...)
>Horace Silver - HORACE-SCOPE
>(A rare case of jazz having true laughter. Vince's playing in the 1950s was
>very Silverish)
>Thelonious Monk - MONK'S DREAM
>(Vince was a huge fan of Monk.)
>Frank Rosolino - FRANK ROSOLINO QUINTET
>(Featuring a very young Guaraldi. One of Vince's bosses and an unsung hero
>of joy in jazz music, with all the irony that that statement brings)
I've always thought that Myra Melford has a little VG vibe happening.
Ryo Katagiri
I guess I wasn't the only one to conjure up Myra Melford when thinking of
people who sometimes get into that Guaraldi feeling... I'm thinking of this
album ,EVEN THE SOUNDS SHINE... Maybe someone else can add to that as
well....
As far as vocal versions of "Cast Your Fate to the Wind," I hear there's Mel
Torme's version that's now part of a Rhino box set called MEL TORME
COLLECTION. Also, supposedly there was a rendition by June Christy in the
1960s but so far as I know it hasn't made it to CD. Otherwise I would've
owned it! There's a for-the-numbers version by Johnny 'Poor Side of Town'
Rivers, and a synth-rock revision by Barbara Gaskin and Dave Stewart, but
that's taking a long road out.
If there's a better one out there, I'd love to know about it.
-Ryo
"Marc Parrish" <mar...@hotmail.com> wrote in message
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