Poppin' In Paris: Live At L'Olympia 1972＜限定盤＞

アルト・サックスの巨匠キャノンボール・アダーレイの1972年オリンピア公演を、ORTF(フランス国営放送)が録音したオリジナルテープリールから転写した完全版公式リリース。
INA(フランス国立視聴覚研究所)所蔵音源を使用。
＜パーソネル＞JULIAN "CANNONBALL" ADDERLEY(as,ss) NAT ADDERLEY(cornet) GEORGE DUKE(p & el-p) WALTER BOOKER(b) ROY McCURDY(ds)
Recorded on October 25, 1972 at the Olympia Theatre, Paris, France, as part of the Paris Jazz Festival.

Poppin in Paris: Live at LOlympia 1972 is the second Cannonball Adderley Quintet volume from producer Zev Feldman on Elemental Music, prepared with the Adderley estate for Record Store Day 2024. The lineup differs from its companion album Burnin in Bordeaux: Live in Paris 1969. Pianist Joe Zawinul left to form Weather Report and was replaced by American pianist George Duke, known then for a series of excellent albums on Germanys MPS and recorded collaborations with Gerald Wilson, Jean Luc Ponty, and Frank Zappa. Bassist Walter Booker (Hank Mobley, Lee Morgan) joined in 1969, and stayed through Cannonballs death in 1976. He worked with Nat Adderley through 1990. Roy McCurdy returns on drums and cornetist Nat is the altoists brass foil. The music here is a step removed from the rootsier presentation of the 1969 volume. Set-opener "Black Messiah" is the title track of a 1972 double album. Dukes acoustic piano solo is intimate, spacious, and inquiring. He ratchets tension and tempo, expanding the tunes harmonic reach. He switches to electric piano and the phrasing in his solo is denser, more arpeggiatic. The horns state the head about halfway through. Dukes elegant chords and lithe accents whisper under Cannonballs solo as the quintet widely explores dynamic, drama, harmony, space, and interplay. They bring this spirit to the standard "Autumn Leaves." Cannonballs solo leaves the entire notion of the ballad in the dust. He, McCurdy, and Duke revel in sprint tempos. His skeins of notes are lyrical but dense, too. Nats solo is more inside but with Duke as foil, he reaches for the upper register and stays there. Bookers "Soli Tomba" is a duet for arco bass and piano. Its modal, mysterious, and lullaby-esque. "Walk Tall" is a funky, fingerpopping groover led by Duke and the horns. Its gospel overtones prove transcendent -- even when Duke employs a wah-wah pedal on his Rhodes. The second set commences with a 20-minute exploration of Zawinuls Herbie Hancock homage "Doctor Honoris Causa." Dukes deft upper register solo on acoustic piano buoys the seamless placement of the theme in this arrangement, framing Cannonballs gorgeous, snaky, soprano sax solo. Nats "Hummin" brings funky soul-jazz to the fore. Its gritty, blue, raw, and swaggering -- Nat doesnt hold back on his killer solo. They follow with Zawinuls "Directions," delivered as furious post-bop and abstract fusion with Cannonballs alto and Bookers bass exploding into the stratosphere. After they emerge from that righteous jam, they whisper gospelized soul-jazz on a brief yet potent version of "Mercy, Mercy, Mercy" with Dukes inimitable Rhodes framing the band before they get to "The Scene." Poppin in Paris may be shorter and dirtier than Burnin in Bordeaux, but it is not less enjoyable. The remastered sound is excellent and the package contains rare photos, a liner essay by Bob Blumenthal, and reminiscences by Vincent Herring, Nat, Tia Fuller, and McCurdy. This set is indispensable for any fan of the Adderleys and funky, early-70s jazz. ~ Thom Jurek