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). [2] 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. 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) received positive reviews from music critics.
Pitchfork's Vanessa Ague praised Guaraldi's ensemble arrangements, describing the score as a "lithe, funky counterpart to the wintry, wistful moods of A Charlie Brown Christmas " (1965). Ague further noted 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." [3] James Aren of All About Jazz highlighted the inclusion of alternate takes, stating that they reveal Guaraldi's creative process and the band's serious but playful approach. He noted that while the brief cues may leave jazz purists wanting more, the concise format helped broaden its appeal. Aren also pointed to the influence of Stevie Wonder on "Peppermint Patty," especially through Guaraldi's use of the clavinet and layered fusion textures. [4] Steven Wine of The Independent described the music as driven by upbeat, youthful melodies and "skittering, deceptively funky grooves," which he said felt spontaneous and natural, like "the rhythms of a playground." He called both the special and its music enduringly timeless. [5] The Cornell Daily Sun noted that Guaraldi's music remains integral to the emotional impact of the television special itself. Particular attention was given to "Little Birdie," which underscores a comedic Snoopy sequence. The review highlighted that the moment, bolstered by Guaraldi's playful crooning, added warmth and musical humor to the animated scene, exemplifying the broader role his music played in shaping character tone and narrative rhythm. [8]
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. [4]
