The Latin side for Vince Guaraldi means a brush with both the Brazilian and Caribbean strains of Latin jazz, garnished now and then by an outboard string quartet and graced by four of his own delightful tunes. On Brazilian numbers like "Corcovado" and Brazilian-treated tunes like "Mr. Lucky" and Guaraldi's lovely "Star Song," Vince has drummer Jerry Granelli deploy his distinctive brushes-and-rim-shots bossa nova beat. Jack Weeks supplies bittersweet string arrangements as he tries to grant Guaraldi's wish for a "Villa-Lobos sound," which he does, more or less. Other tunes, like Guaraldi's own happy-go-lucky "Treat Street," "Whirlpool," and Nat Adderley's "Work Song," are treated to gentle cha-cha rhythms…
Here is Vince Guaraldi's breakthrough album – musically, commercially, in every which way. After numerous records as a leader or sideman, for the first time a recognizable Guaraldi piano style emerges, with whimsical phrasing all his own, a madly swinging right hand and occasional boogie-influenced left hand, and a distinctive, throat-catching, melodic improvisational gift. The first half of the program is taken up by cover versions of tunes from the Antonio Carlos Jobim/Luiz Bonfa score for the film Black Orpheus, recorded just as bossa nova was taking hold in America. These are genuinely jazz-oriented impressions in a mainstream boppish manner, with only a breath of samba from Monty Budwig (bass) and Colin Bailey (drums) in the opening minute of "Samba de Orpheus"; an edited version of this haunting song was issued as a 45 rpm single. But DJs soon began flipping the single over to play the B-side, a wistful, unforgettably catchy Guaraldi tune called "Cast Your Fate to the Wind" that opens the North American half of the album.
In a year that also saw Duke Ellington, Dave Brubeck and Lalo Schifrin write jazz-based pieces for the church, Vince Guaraldi may have come up with the most effective sacred work of the four. Written for the completion of San Francisco's Grace Cathedral, Guaraldi's Mass fuses his mainstream and Latin strains comfortably and movingly underneath the plain vanilla Gregorian lines and Anglican plainchant of a 68-voice chorus. Sometimes all Vince does to create a beguiling effect is improvise arpeggios or have his trio engage in a hot bossa nova workout as the chorus chants on one note. Despite the immense size of the cathedral, this music produces an intimate, unpretentious and undeniably emotional response - and there is plenty of jazz content, particularly when Guaraldi's trio goes it alone for nearly a third of the work in the ruminative "Holy Communion Blues." By all means, check this beautiful, unusual album out.
Vince Guaraldi was a well-respected jazz pianist whose greatest success came from avenues usually closed to contemporary jazz artists: he enjoyed a hit single at a time when jazz had largely been exiled from the pop charts, and he scored a series of very successful animated television specials (namely the Charlie Brown seasonal specials scores and soundtracks for which his name has become synonymous), a medium where cookie-cutter pop music was traditionally the order of the day.
An extension of the popular Original Jazz Classics series (est. 1982), the new OJC Remasters releases reveal the sonic benefits of 24-bit remastering-a technology that didn't exist when these titles were originally issued on compact disc. The addition of newly-written liner notes further enhances the illuminating quality of the OJC Remasters reissues. "Each of the recordings in this series is an all-time jazz classic," says Nick Phillips, Vice President of Jazz and Catalog A&R at Concord Music Group and producer of the series.