David Benoit, Jane Monheit in ‘Peanuts’ tribute at Molloy

Can the popularity of the “Peanuts” cartoons be separated from the effervescent jazz stylings of Vince Guaraldi? Uncoupling Linus from his blanket might be easier.

“Everything Vince wrote for those shows was perfect,” says pianist David Benoit, who joins vocalist Jane Monheit for Madison Theatre’s “Christmas Tribute to Charlie Brown” on Saturday, Nov. 28. “He was some kind of genius. He didn’t even read music, but he created songs that were so catchy. All the planets aligned.”

“There’s a real warmth to his music,” adds Monheit, the Grammy-nominated Oakdale native. “I love Vince Guaraldi.”

Benoit’s show at the Rockville Centre theater at Molloy College spotlights the beloved 1965 special “A Charlie Brown Christmas” (whose soundtrack launched Guaraldi’s fame), the musical “You’re a Good Man, Charlie Brown,” holiday standards, Herricks Middle School’s choir and Monheit’s recent collaborations with Benoit (“2 in Love” and the Christmas album “Believe”). The pair also sample Beethoven’s “Moonlight Sonata,” doing their best Schroeder and Lucy impersonations.

“When I designed the show, there wasn’t much vocal material to draw from, so I had to get creative,” Benoit said from his home in Palos Verdes Estates, California. “It’s a lot of Charlie Brown, but not all Charlie Brown.”

Benoit’s work on “The Peanuts Movie,” which came out earlier this month, isn’t his first link to Snoopy and friends. The wife of Lee Mendelson, who produced the “Peanuts” television specials, heard Benoit’s 1983 cover of “Christmastime Is Here” and said, “We have to check this guy out, he sounds like Guaraldi.” By 1988, Benoit joined jazz icons Dave Brubeck, Wynton Marsalis, Dave Grusin and George Winston in scoring the animated miniseries “This Is America, Charlie Brown.”

“Lee introduced me to Charles Schulz, then I sort of became their official music guy,” said Benoit, who’s worked on more than a dozen “Peanuts” projects. “The first day we met, I said, ‘Mr. Schulz, it’s an honor to meet you.’ He said, ‘No, call me Sparky!’ It took me a while, because he’s so legendary.”

Benoit was 8 when he first read the comic strip, which ran 18,000 times from 1950 to 2000, earning acclaim in film, TV, books and merchandising. Despite success, syndicators vetoed Schulz’s “Li’l Folks” title in favor of “Peanuts,” which he loathed.

“It’s ridiculous,” Schulz insisted. “It has no meaning, is confusing, and has no dignity.”

Bright lights and luminaries

Schulz wasn’t the only legend in Benoit’s path. He was trained by Arturo Toscanini’s pianist, was musical director for Lainie Kazan and Ann-Margret, scored a Clint Eastwood film, and performed for presidents Ronald Reagan, George H.W. Bush and Bill Clinton. Benoit now hosts a radio show at California’s KKJZ, accessible at jazzandblues.org

Although Benoit reveres jazz, his diverse influences — he’s covered The Beatles, The Doors and Elton John, and conducted symphonies — make him leery of labels. “My first Grammy nomination was in jazz fusion. Then, it was called contemporary jazz. Then smooth jazz, which became a dirty word. After a while I said, ‘This is ridiculous. I’m just making my music.’ ”

Monheit shares his eclecticism. “What’s nice is her flexibility,” says Benoit, 62. “Jane’s known as a jazz singer with an incredible four-octave range, but she can do Broadway, she can do pop, she can do classical.”

So did Monheit adore “Peanuts” as a kid? “Oh, yes,” she replied. “Totally!”

Benoit was also “a huge fan. I related to Charlie Brown. That was an important part of my life. When . . . [Schulz hired me], I believe things had come full circle. Sometimes the universe sends messages in the synchronicity of things.”