add to wish list | library


16 of 17 recommend this,
would you recommend it?

yes | no

 

Reviews: Cannonball Adderley Quintet: In San Francisco

Reviews: 3

Review by Claude August 23, 2005 (5 of 8 found this review helpful)
Performance:   Sonics:
This is one of the best live documents of the Cannonball Adderley quintet with brother Nat on cornet and Bobby Timmons (p), Sam Jones (b), Luis Hayes (dr). It was made in 1959. The music is straight ahead, uncomplicated hard bop and will appeal also to occasional jazz listeners.

The recording is very "hot", (smooth) tape saturation can be heard on the loudest passages of most horn solos. The bass drum also sounds slightly distorted. The piano, recorded with one microphone as customary in the 1950's, sounds a bit thin. The horns are panned to one stereo channel. Overall, it is a very fine remastering that brings out the best of the recording but also shows it's limitations.

A very enjoyable disc, as far as music and sound are concerned.

Was this review helpful to you?  yes | no

Review by analogue June 18, 2009 (2 of 2 found this review helpful)
Performance:   Sonics:
It's a real pity how many labels started off by opening their music vaults and releasing sacd's only to abandon them now. The Fantasy label has a vast array of great albums but stopped. Most of their sacd releases offer terrific sound and are very faithful to the original mixes. I would strongly urge you all to look them up as there are great musical treasures to be had.

It's really hard to believe that this album was recorded 50 years ago. You'd never know it from the sound...which is still vital, fresh and alive. Just hearing Adderley's voice addressing the crowd in the beginning gives you a sense that this will be an audio treat.

If you love or even like old time jazz from the past when jazz had reached a greatness never equalled.............this in the 1950's, I would strongly recommend this sacd to you.

The recording is very impressive but not all of the individual instruments are captured perfectly. This should not give you any negative pause at all. As I mentioned earlier, there is a certain "aliveness" and realism to this recording that is shockingly good. The listener really feels part of the proceedings........it's really impressive. Drums are kept to one side but they have a nice low end and Adderley's sax is rendered very nice. It's the trumpet that is pushed back in the mix at times.
The music is just top rate and will have your toes tapping and head swaying. Great jazz.

Highly recommended.

Was this review helpful to you?  yes | no

Review by Little Nemo July 15, 2012 (2 of 2 found this review helpful)
Performance:   Sonics:
The music here is not simply "straight-ahead hard bop" as suggested by Claude. This is mostly "soul jazz" - jazz with a heavy soul (and R 'n B) bent - although there are a couple of numbers played in the hard bop style as well. The band swings throughout and the solos from Cannonball show him to be on pretty top form. Nat's solos are a little less inspired, but it must have been hard to be in the great Cannonball's shadow, and he holds his own quite well. There's some nice call-and-response interplay between the brothers on 'Spontaneous Combustion' and nice set-pieces in which they play together in harmony throughout.

Sonically this live recording is very good. It sounds like it was mixed on-the-go, direct to 2-channel tape. Like 'Jazz at the Pawnshop' (also live-mixed) the earliest bars of the opening track take a minute or so to find a good balance as the engineer makes level adjustments to the sound. Before long, however, the sound really finds itself, and each performer can be heard very clearly indeed. The balance improves further after a couple of tracks as the double bass seems to tighten up nicely and really underpins the soundscape really well. This is evident on 'You Got It!' which features some really swinging bass, and there's a nice bass solo on 'Straight, no Chaser'. If I had a couple of niggles, it would be that the snare sounds a little boxy and the loudest bass drum hits push the tape saturation to the limit and beyond, as does the piano. The whole thing is a little on the hot side, but the flip side is there is little noticeable tape hiss. The delighted audience reactions can be heard throughout, but never sound imposing.

I'm not sure quite how much this recording benefits from a hi-def format such as SACD. Firstly, the recording in the first place is not exactly the highest definition, being, as I said, quite 'hot' with plenty of tape saturation. It is a late-50s live recording, after all. There's a Japanese K2-remastered CD version which sounds warm and smooth - possibly even better than the Fantasy SACD - which shows how important good quality mastering is, even more so than the actual digital resolution.

Was this review helpful to you?  yes | no