Following the passing of producer Lee Mendelson in December 2019, his children undertook an extensive search of archival materials in hopes of locating original music score recordings from the Peanuts television specials. During the COVID-19 pandemic lockdown, they uncovered a collection of analog session tapes, recorded by Guaraldi for several of the specials.[1] These recordings, long believed to be lost, comprised not only all of Guaraldi's music cues but also the arrangements by John Scott Trotter, including multiple alternate takes.[8]
The original session tapes feature unedited, complete recordings, originally captured and mixed in stereo. The recordings were transferred to a high-resolution digital at 192 kHz/24 bit from 2-inch 16 track stereo masters.[1]
Recording
The score was performed by the Vince Guaraldi Quintet on August 20, 22 and September 4, 1973, at Wally Heider Studios, featuring Tom Harrell (trumpet), Chuck Bennett (trombone), Seward McCain (electric bass) and Mike Clark (drums).[3] This marked the third consecutive Peanuts special recorded at this studio, after the earlier soundtracks had been produced in Los Angeles.[1]
Guaraldi expanded his musical palette for this project, creating a bold and impressive sound. While the final mix for the television special featured more subdued music relative to the dialogue and sound effects, the score itself contained complex and dynamic arrangements. Drummer Mike Clark was a key addition to Guaraldi's ensemble. Clark’s style, along with Guaraldi's desire to stay musically current by surrounding himself with younger jazz players, brought a fresh energy to the sessions.[1]
In particular, the version of "Linus and Lucy" stands out due to the incorporation of the East Bay Sound, a funk-influenced style of drumming, brought to the session by Clark. Clark was known for his pioneering work in this style, which added a more rhythmic and modern feel to the track. In addition, trumpet player and arranger Tom Harrell played a key role in shaping the sound by adding layered horn sections, further enhancing the depth and richness of the arrangement. The sessions also made use of multitrack recording, which allowed Guaraldi to overdub additional keyboard elements, such as the Fender Rhodes piano, creating complex countermelodies that were not present in earlier, more straightforward jazz renditions heard in previous Peanuts specials. The overdubbing of the Fender Rhodes countermelodies on "Linus and Lucy" (as heard in the bonus mix) showcases how Guaraldi was integrating newer sounds into his compositions while staying true to the playful, upbeat nature of the piece.[1]
One notable composition from A Charlie Brown Thanksgiving sessions is "Peppermint Patty", a favorite of both Guaraldi’s and Peanuts creator Charles M. Schulz, having been featured in five of the previous six Peanuts specials. In this version, Guaraldi layered grand piano, Fender Rhodes, Wurlitzer, and Hohner Clavinet, creating a richly textured, dream-like arrangement. The Clavinet, which had been popularized by Stevie Wonder in "Superstition" a year earlier, added a distinctive sound to the track. Although "Peppermint Patty" had been introduced in You're in Love, Charlie Brown (1967), this recording represents the first full realization of the piece, including the bridge section that had been absent in the earlier version. The Clavinet is also used in the "Fife & Drums Theme" and "Little Birdie". In the latter, Guaraldi takes on vocal duties, marking the second time he sang on a Peanuts special. "Little Birdie" features muted trumpet responses from Tom Harrell, adding depth to the arrangement.[1]
The recording sessions also reveal Guaraldi's creative process in action. "Thanksgiving Interlude", for example, went through 17 takes before the final version was selected. Bassist Seward McCain, who toured with Guaraldi more than any other bassist, was particularly adept at adapting to Guaraldi's improvisational style. The sessions capture a gradual evolution in the arrangement, with tempo shifts and rhythmic variations.[1]
Guaraldi’s experimentation extended to his use of the guitar, although he was not formally trained in the instrument. This is evident in the track "Is It James or Charlie?", which is characterized by a simple, funky two-chord structure. A bonus mix of this track showcases a version where Guaraldi replaces the guitar with a piano solo and incorporates a "whistling piano" technique, creating a unique sound that resembles guitar bends.[1]
The centerpiece of the special is "Thanksgiving Theme," which appears in four different versions throughout the soundtrack, including solo piano and full trio with brass. The theme’s cascading piano lines and lush harmonic progressions reflect Guaraldi's signature style and contribute to the nostalgic and reflective mood of the Thanksgiving special.[1]
Additional tracks, such as "Clark and Guaraldi", a brief jam session between Guaraldi and Clark, highlight the collaborative dynamic of the recording sessions. Bonus mixes of "Peppermint Patty" and "Linus and Lucy" further demonstrate Guaraldi’s experimental approach during this period.[1]
Critical reception
A Charlie Brown Thanksgiving: Original Soundtrack Recording 50th Anniversary Special Edition was met with critical acclaim upon its release.
Pitchfork critic Vanessa Ague commended Guaraldi for assembling a proficient ensemble to bring to life upbeat compositions with a strong emphasis on brass and rhythm, noting that the score offers a "lithe, funky counterpart to the wintry, wistful moods of A Charlie Brown Christmas" (1965). Ague further observes that "A Charlie Brown Thanksgiving reminds us of the full breadth of his scores," concluding that "the genius of Guaraldi’s scores was the way he mapped the many emotions that erupted in a Peanuts comic strip, and on Thanksgiving, he shows them all."[4]
All About Jazz critic James Aren remarked that Guaraldi's "creative process is fully displayed here through multiple takes of various tracks," highlighting that it is evident Guaraldi and his band approached the music with seriousness, even while having fun. Aren further noted that, although true jazz enthusiasts might find the short cues unsatisfactory, this brevity likely contributed to the music's broad appeal and distinctly reflects the early 1970s. Aren also notes that Guaraldi, then aged 45, strategically collaborated with younger musicians in their twenties, thereby infusing the work with contemporary vitality. He also identified the influence of Stevie Wonder on "Peppermint Patty," highlighting Guaraldi's incorporation of the clavinet and the use of multi-layered techniques emblematic of fusion music.[5]
The Independent critic Steven Wine notes that exuberant, youthful melodies serve as a recurring motif, accompanied by "skittering, deceptively funky grooves, which seem both unpredictable and natural, like the rhythms of a playground." Wine concludes that Peanuts and its accompanying music maintain an enduring timelessness.[6]
When interviewed by WCB Jazz Vinyl Collector, Sean Mendelson described the music as "little nuggets of melodic candy," asserting that there is sufficient musical substance to satisfy listeners and evoke memories of their childhood.[5]
