Burnin' In Bordeaux: Live In France 1969＜限定盤＞

アルト・サックスの巨匠による1969年のボルドー公演の公式リリース盤。
フランス国立視聴覚研究所(INA)所蔵のORTF録音オリジナルテープから転写したマスターを使用。
キャノンボールは、弟ナット・アダーレイ(コルネット)、ピアニストのジョー・ザウィヌル、ベーシストのビクター・ガスキン、ドラマーのロイ・マッカーディら豪華バンドを率いて演奏を披露。
＜パーソネル＞JULIAN "CANNONBALL" ADDERLEY(as) NAT ADDERLEY(cornet) JOE ZAWINUL(p & el-p) VICTOR GASKIN(b) ROY McCURDY(ds)
Recorded on March 14, 1969 at the Alhambra Theater in Bordeaux.

Burnin in Bordeaux: Live in Paris 1969 is one of two Record Store Day 2024 releases from Elemental Music. The other is Poppin in Paris: Live at lOlympia: 1972; the original tapes were stored in the French national audio-visual archive. Producer Zev Feldman prepared both releases with the Adderley estate. He made sure everyone was paid. Some of the music from both releases has been available online for years, but these double discs from Elemental place the music in its proper context and marks the first official release of both dates. Critic Bob Blumenthal makes clear in his excellent liner essay that naming the "definitive" Cannonball Adderley Quintet was complex, a nigh on impossible task given the number of gifted musicians who passed through it. This group is one of his very best with brother Nat Adderley on cornet, Joe Zawinul on piano, Victor Gaskin on bass, and Roy McCurdy on drums. Zawinul composed opener "Scavenger" (and five other tunes here), a burning modal jam in 7/4. Cannonballs furious solo is everywhere, moving through weird blues, hard bop, and Eastern modes before Nat enters with a Spanish tinge before delivering a furious run while Zawinuls muscular chord vamp buoys him before finding its own space for an investigative solo. The reading of Luis Bonfas "Manha de Carnival" joins modal to bossa, samba, and blues with a two-horn front line. Zawinul holds the harmonic center through tasteful, lyric solos by both Adderleys. Nat Adderley composed the classic "Work Song," which is delivered here as a perfect illustration of the quintets ability to weave soul into blues and hard bop into soul, and vice-versa. Delivered at a brisk tempo its fingerpopping in its swing and groove, with excellent solos by Zawinul, Cannonball, and Nat. McCurdys rim shots and breaks add a funky undercurrent. They return to covers with the West Side Story number "Somewhere," offering a limpid, yet elegant intro before slowly unveiling the tunes tender beauty. The first set ends with Pops Staples "Why Am I Treated So Bad" that showcases the Rhodes piano, an instrument Zawinul introduced to the quintet some four years earlier. The quintet amplifies the dynamic of the blues with the Rhodes built-in distortion. The second set kicks off with "Experience in E," a knotty post-bop jam wedding dissonance and expansive harmony amid complex rhythms. The group deliver bebop fire on Dizzy Gillespies "Blue N Boogie." Cannonballs and McCurdys solos are dazzling; the group turns with Duke Ellingtons "Come Sunday" in a lyric showcase for Gaskin and Zawinul. The rest of the set is rippling with funk in the bumping "Walk Tall," the gospel-jazz in "Mercy, Mercy, Mercy," and the souled-out "The Scene," as well as the Adderleys gritty barroom blues "Oh Babe" to take things out. Fidelity is excellent; and, as is typical of Feldmans productions, the booklet contains rare photos, a Blumenthals essay, and reminiscences by Cannonball pianists Hal Galper and Michael Wolf, McCurdy, and saxophonist Chris Potter. ~ Thom Jurek