Tight ensemble, great solos
This live album was recorded at two performances on the same day, so the solid renditions of the quintet's challenging arrangements clearly demonstrate that this was a tight ensemble that didn't need umpteen studio takes to get it right. The solo work is great all around, and the energy level stays high. Only one track of the seven, "Blue Daniel," is laid back.
One of the aspects of Cannonball's playing I've always liked is the way he used the alto's full range rather than relying too heavily on the horn's upper register for impact. His playing here displays this quality along with his characteristic rapid-fire flow of ideas.
Nat Adderley's cornet shines bright on this session. I've always felt that Nat deserved more recognition than he got. He could play circles around Miles Davis even on a bad day, and yet we tend to think of him as Cannonball's little brother rather than a great jazz artist in his own right. Listen closely to him on this album, and maybe you'll think of him a little differently from now on.

Fantastic!
Don't miss this one. Hard Bop at it's best. Cannonball's playing is amazing as usual. Live jazz in 1960 was never better.

Where theres steam theres nuclear fission
This ensemble really kick hard on this recording Sam Jones and Louis Hayes thump some of the best rhythmsection playing that exisits , with Victor Feldman so cool in comping he's almost invisible . Add to this Adderley brotherhood at its best, always super groovy , ultra hip ,smooth, but always looking for the knockout blow.
As is with many, if not most live recorings, at times balances are a bit uneven , not of any concern to regular jazz listeners, and in all the recording quality is really good.

Cannonball At the Lighthouse
Of all the amazing recordings Cannonball did with his many great quintets/sextets, this I feel is the best. In my opinion, the Adderley quintet records best when live, as this wonderful album proves. It all starts out with the finger-snapping groove of "Sack O' Woe", Cannonball's most famous composition. Every soloist really swings hard, and sets the tone for the rest of album. "Big 'P'", a Jimmy Heath tune written about his brother Percy, continues with the driving feel. Things then slow down a bit with the lovely jazz waltz "Blue Daniel", which shows a more sensitive side to Cannonball and the gang. Victor Feldman, the pianist on this recording, is the only new member of the quintet for this album (the rest are the same as in "Them Dirty Blues", another masterpiece") and he really shows off his compositional skills with the next two numbers, "Azule Serape" and "Exodus", two up-tempo burners. The album then comes to a swinging finish with an amazing version of "What is This Thing Called Love?" and a bonus track of Tadd Dameron's "Our Delight". If you're a fan of any of Adderley's work or just love music that really swings, you'll love this one, guaranteed.

Victor Feldman Joins The Adderley Band!
I haven't yet heard an Adderley Brothers recording I didn't like and this one, recorded live at the legendary Southern California club The Lighthouse, is no exception. Adding to the interest here is that in addition to the usual lively playing by Cannonball, Nat, Sam Jones & Louis Hayes, it includes the fine English pianist Victor Feldman. I first heard the late Feldman on the powerful Miles Davis recording "Seven Steps To Heaven." When both the Brothers Adderley and Miles Davis ask you to play with them you must be doing something right.....and Feldman certainly was!