I saw Vince Guaraldi with Bola Sete at Charlie Byrd’s old Showboat Lounge in Washington, DC. It was in 1962 or ‘63.
Bttt
Thanks for this. Very nice.
I saw VGT in a small setting...there were about 250 of us.
No one really got into the music until Linus and Lucy was played then everyone was on their feet dancing and screaming!
It was an elementary school assembly — I was in 1st grade.
Fun memory!
Too few remember Bola Sete, a truly great musician.
Thanks for the share...great coffee music.
Thank you for posting that.
Very fond of the Bossa Nova style from that era.
Always brings back wonderful memories.
“Cast Your Fate To the Wind” is one of the 150 songs I have on my cellphone which I Bluetooth over to my car media player while on the road.
Did anyone else notice Vince throws in hints of Linus and Lucy at 1:28, 3:14, 6:43? They last just a few seconds but they seem more than coincidental, as they stand in stark contrast with the rest of the piece, and they are even in the same key and tempo as Linus and Lucy.
I’d love to know what was going through Vince’s head when he did that.
This Bola Sete live session was recorded in 1963, and Linus and Lucy wasn’t released until 1964, and was not a hit until 1965.. but it is quite possible that in 1963 he was in the middle of composing it for the Peanuts special.
The following blurb from Wikipedia seems to bear out the timeline:
“The genesis of “Linus and Lucy” began when Peanuts executive producer Lee Mendelson heard Vince Guaraldi’s hit, “Cast Your Fate to the Wind”, on the radio while driving his car over the Golden Gate Bridge in San Francisco.”
[Note: Cast Your Fate to the Wind was released July 1962]
“Mendelson then contacted San Francisco Chronicle jazz critic Ralph J. Gleason, who put him in touch with Guaraldi. Mendelson believed Guaraldi would be a good fit for a documentary he was working on entitled A Boy Named Charlie Brown. Guaraldi gladly accepted the offer to compose several jazz tunes for the documentary.[5]
Within several weeks, Mendelson received a call from an excited Guaraldi who wanted to play a piece of music he had just written. Mendelson, not wanting his first exposure to the new music to be marred by the poor audio qualities of a telephone, suggested coming over to Guaraldi’s studio. Guaraldi enthusiastically refused, saying “I’ve got to play this for someone right now or I’ll explode!” He then began playing the then untitled “Linus and Lucy” for Mendelson, who agreed the song was perfect for Schulz’s Peanuts characters.[5”