キャノンボール・アダレイの69年ボルドーライブ音源
史上初の公式・完全盤リリース、2CD

サックス奏者キャノンボール・アダレイの69年ボルドーライブを収録した史上初の公式リリース(そして史上初の完全盤)。
1969年3月14日、ボルドー・ジャズ・フェスティバルにてアルハンブラ劇場で録音。弟のナット・アダレイ(cornet)、ジョー・ザヴィヌル(piano)、ヴィクター・ガスキン(bass)、ロイ・マッカーディ(drums)によるクインテット編成。アンドレ・フランシスがプロデュース。
ORTF(フランス放送協会)によって録音され、INA(フランス国立視聴覚研究所)にアーカイブ保管されているオリジナル・テープ・リールからリマスタリング、キャノンボール・アダレイ・エステートとINAの協力のもと、エレメンタル・ミュージックからリリースされる。このコンサートの一部は、以前、イタリアの海賊盤で音質が悪い状態で発売されていたが、音質は素晴らしいものになり、公式・完全盤として生まれ変わった。
ブックレットには、数々の貴重な写真をはじめ、高名なジャズ作家・歴史家ボブ・ブルーメンソール、ゼヴ・フェルドマンによるエッセイ、ロイ・マッカーディ、ハル・ギャルパー、クリス・ポッター、マイケル・ウルフらによる貴重な証言も収録。

発売・販売元 提供資料 （2024/02/21）

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

Rovi