Background
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. 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. [1]
The original session tapes feature unedited, complete recordings, originally captured and mixed in mono (the final Peanuts television soundtrack to be recorded in this format). [1] These analog recordings were transferred by Deluxe Entertainment Services to high-resolution digital format at 192 kHz/24-bit from the original 1/4-inch monaural masters. [1]
Recording
The recording sessions for It Was a Short Summer, Charlie Brown took place on September 11 and 12, 1969. Guaraldi worked with a larger ensemble than in previous specials, resulting in a more dynamic and varied score. The sessions were completed under tight time constraints, as the television special was scheduled to air later that month. [1] [8] [9] At the same time, Guaraldi was also scoring A Boy Named Charlie Brown (his first and only Peanuts feature film), and recording his final studio album, Alma-Ville (1969). Many of the same musicians contributed to all three projects, creating a consistent musical style across his late-1960s work. [8]
In a 2024 interview with WCB Jazz Vinyl, Sean Mendelson noted that the Short Summer session tapes were unusually well-preserved and meticulously organized, which allowed the project to come together with remarkable speed. Jason Mendelson emphasized the score's distinctiveness, highlighting its clear musical direction and the deliberate interplay between brass and woodwinds—a reflection of Guaraldi's focused sonic vision. He further remarked, "This score was a perfect storm. It was right before they transitioned to stereo, and Vince had all these powerhouse musicians in the room. It was probably one of the most vibrant Peanuts scores ever recorded, and then it got buried for 55 years". [10]
For this score, Guaraldi assembled a decet, a ten-piece ensemble representing a significant expansion beyond the smaller combos featured in his earlier Peanuts soundtracks. The group included a distinguished lineup of West Coast jazz musicians, among them trumpeters Conti and Pete Candoli, trombonist Frank Rosolino, woodwind players William Hood and Pete Christlieb, guitarist Herb Ellis, bassist Monty Budwig, drummer Jack Sperling, and percussionist Victor Feldman. This expanded instrumentation allowed Guaraldi to craft a more intricate and harmonically rich sound, with brass and woodwind sections functioning as extensions of his piano voicings. The result was a vibrant and textured score that enhanced the special's narrative with increased energy and musical sophistication. [1] [8] [9] [10]
Musical structure
The score featured a combination of familiar themes from earlier Peanuts specials and new compositions written specifically for this production. While many of the cues were brief—ranging from 30 to 90 seconds—they were carefully composed and executed to support the animated scenes. One of the most significant reworkings of earlier material was "Linus and Lucy", which was arranged with greater complexity, featuring a call-and-response between Guaraldi's piano and Ellis' guitar. Similarly, "Oh, Good Grief!" was enhanced by the addition of horn sections, providing a fuller and more textured sound. [8] [9] [1] The Mendelsons also remarked that Guaraldi gave greater improvisational and melodic responsibility to his collaborators than usual, allowing soloists such as Pete Christlieb and Frank Rosolino more room to shape the music. [10]
Guaraldi also composed new pieces for the special, which showcased his continued experimentation within the jazz idiom. "Masked Marvel", written for Snoopy's wrestling persona, was characterized by fast-paced piano runs, horn fanfares, and intricate percussion, while "Bus Blues", used during a sequence in which Snoopy imagines himself as a bus driver, demonstrated Guaraldi's skill in creating rhythmically playful compositions. These new pieces were distinguished by their energy and complexity, reflecting the competitive and lively atmosphere of the summer camp setting in the special. [8] [9] [1] "Masked Marvel" stands as an example of Guaraldi's humor and energy, with bold instrumentation and fast-paced musical cues that captured the spirit of Snoopy's wrestling persona. [10]
The recording sessions were also notable for the involvement of conductor and arranger John Scott Trotter, who played a key role in orchestrating the score. Trotter's arrangements contributed to the overall coherence of the soundtrack, ensuring that the music supported the narrative without overwhelming the dialogue or action. His orchestration of "Love Will Come (Bossa Nova)" was significant, as it introduced new sections that enhanced the emotional depth of the campfire scene it accompanied. [8] [9] [1] The Mendelsons praised Trotter's contribution on this track, calling it "a textbook case of how orchestration can elevate emotion". Jason said, "Trotter does not just arrange, he amplifies. That bossa nova piece could have been background filler, but instead it feels deeply emotional—like it is telling its own story". [10]
A distinctive feature of this soundtrack was Guaraldi's decision to adopt a more collaborative approach to the music. In many cues, his piano served as harmonic and rhythmic support, while other musicians took on the primary melodic roles. The brass and woodwinds, in particular, were given prominence, adding a swing and dynamism that set this score apart from earlier Peanuts soundtracks. [8] [9] [1]
Release
It Was a Short Summer, Charlie Brown: Original Soundtrack Recording 55th Anniversary Edition debuted as a Record Store Day exclusive in 12" 45 RPM vinyl LP format on April 20, 2024. It was subsequently released to the general public on July 5, 2024, in CD and digital download formats. Additional "Camp Green" and "Summer Night Blue" vinyl color variants were also issued as Record Store Day Indie exclusives. [11] The Mendelson brothers reported that fan enthusiasm exceeded expectations, with many stores selling out of the release quickly on Record Store Day. They also noted a growing appreciation for Guaraldi's work among jazz listeners, beyond the traditional Peanuts audience. [10]
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