More Cannonball Adderley
Yet Another Record We’ve Discovered with (Potentially) Excellent Sound
- An exceptionally rare and amazing sounding early stereo pressing (that’s the mono you see pictured btw) – it boasts Triple Plus (A+++) sound from first note to last
- These originals are by far the best way to go, in stereo of course, putting Cannonball’s breathy, melodic sax right between your speakers, with the rest of the band – including Sergio Mendes on keys – spread out around him
- Truly an undiscovered gem in the Adderley catalog – the audiophiles here at Better Records were digging both the music and especially the superb sound
- Another top quality recording from the superbly talented Ray Fowler, the house engineer for Riverside and the man behind many of the best Thelonious Monk and Cannonball Adderley recordings done for that great jazz label
- A Jazz Classic from 1963 that should appeal to any fan of Bossa Nova music
- The complete list of titles from 1963 that we’ve reviewed to date can be found here.
I think I first heard this album on the original pressing about ten years ago. Of course I liked it immediately; samba jazz and pop are two of my favorite styles of music, from Getz Au Go Go to Astrud Gilbert, on to Antonio Carlos Jobim and ending with the bottled-sunshine Pure Pop of Sergio Mendes and Brazil ’66.
For us audiophiles both the sound and the music here are enchanting. If you’re looking to demonstrate just how good 1962 All Tube Analog sound can be, this killer copy will do the trick.
This pressing is super spacious, sweet and positively dripping with ambience. Talk about Tubey Magic, the liquidity of the sound here is positively uncanny. This is vintage analog at its best, so full-bodied and relaxed you’ll wonder how it ever came to be that anyone seriously contemplated trying to improve it.
THIS is the sound of Tubey Magic. No recordings will ever be made like this again, and no CD will ever capture what is in the grooves of this record. There may well be a CD of this album, but those of us in possession of a working turntable and a good collection of vintage vinyl could care less.
What do the better Hot Stamper pressings like this one give you?
- Energy for starters. What could be more important than the life of the music?
- The Big Sound comes next — wall to wall, lots of depth, huge space, three-dimensionality, all that sort of thing.
- Then transient information — fast, clear, sharp attacks for the horns and drums, not the smear and thickness so common to most LPs.
- Tight, note-like bass with clear fingering — which ties in with good transient information, as well as the issue of frequency extension further down.
- Next: transparency — the quality that allows you to hear deep into the soundfield, showing you the space and air around all the players.
- Then: presence and immediacy. The musicians aren’t “back there” somewhere, way behind the speakers. They’re front and center where any recording engineer worth his salt would have put them.
- Extend the top and bottom and voila, you have The Real Thing — an honest to goodness Hot Stamper.
Side One
Clouds
Minha saudade
Corcovado
Batida diferente
Side Two
Joyce’s Samba
Groovy Samba
O amor em paz (Once I Love)
Sambop
AMG Review
A pleasant date recorded in late 1962 with South American musicians the Bossa Rio Sextet of Brazil. Cannonball is heard alongside Sergio Mendes on piano, future Weather Report percussionist Dom Um Romao, and featured on five cuts is Paulo Moura on alto saxophone with Pedro Paulo on trumpet.
Skip the version you see below, the sound is not very good, as sell as the mono and any other reissues with different covers from the original. They are all awful.
