Jamo C 97 II Review: Honest Hi-Fi Performance with Elegant Nordic Styling
We all love that clean, laconic Scandinavian look, light wood, smooth lines, and furniture that doesn’t scream for attention. Now imagine that same design philosophy, but instead of a bookshelf, it’s a pair of floor-standing speakers. Jamo’s new flagship three-way speakers, the Jamo C97 II from the Concert 9 Series, are proof that you don’t have to choose between a beautiful home and high-quality sound. They’ve finally managed to wrap concert-hall audio in a package that actually complements your decor.
Jamo C 97 II
The second generation of the Concert series, according to the manufacturer, is able to reconcile the aesthetic sensibilities of the family (it has a stylish appearance) with the musical expectations of the main music lover (it sounds good). The slightly rounded shape of the MDF front panel gives the graceful contours of the speakers a bit of solidity against the background of “thin” counterparts. The cabinet is available in two finishes: black ash and white oak.
Designers suggest that the stylish and moderately neutral appearance of the speakers allows them to fit into most modern interiors.
On the rear wall, there is a large bass reflex port, the material and design of which are intended to minimize vibration effects on the cabinet. Below are the terminals for bi-amping/bi-wiring connections. The speakers rest on cross-shaped spiked feet.
The front panel is covered by a coarse tweed grille, but if you don’t have curious kids or mischievous pets, I recommend leaving the speakers uncovered, since they account for a fair share of the design effect. The metal surround of the one-inch tweeter and three 152.4 mm drivers (one midrange and two woofers) harmonizes with the blunt aluminum phase plugs, which simultaneously reduce phase distortion and dissipate heat from the coils.
To protect the tweeter from vibrations caused by the larger drivers, it is separated from the cabinet by an elastic gasket.
The developers placed the silk tweeter in a proprietary ADW (Anti-Diffraction Waveguide), and the TDR (Tweeter Distortion Reduction) damping element protects it from unwanted external vibrations.
The midrange and woofer cones are made of HCCC (Hard Composition Conical Cone) composite material, which includes a supporting cellular structure that combines light weight and low inertia with high rigidity. And finally, another proprietary abbreviation: LDS (Long Displacement Surround), elastic surrounds that provide greater excursion capability for the drivers.
The Jamo C 97 II speaker set is capable of working as part of a home theater; fortunately, the Concert 9 Series II includes matching rear and center speakers, and the company’s lineup offers suitable subwoofers, but its main role is clearly in a stereo system.
Warm and Cold
The speakers were paired with a Magnat RV4 hybrid integrated amplifier with a tube preamplifier stage, featuring Russian-made E88CC tubes. For “warm tube” analog sound, the Magnat MTT 990 turntable with a Sumiko Rainier cartridge and an external Music Hall pa1.2 phono stage was used.
The digital section was handled by a fellow Dane, the Lyngdorf CD-2 CD player, which operated during the test using its own Wolfson WM8740 DAC, although the built-in Burr-Brown converter could also be used if desired. The setup also included cables from David Salz: Wireworld Luna 8 interconnects and Wireworld Solstice 8 speaker cables.
Direct Conversation
The elegant Scandinavian design of the speakers almost invites a refined jazz session to begin the listening test, but instead, I decided to start with something energetic and rhythm-driven to test their authority and control.
I began with “Hotel California (Live)” by the Eagles. From the opening guitar strings, the Jamo C 97 II immediately demonstrated composure and scale. The crowd ambience expanded convincingly beyond the speakers, creating a wide and immersive soundstage. When the kick drum entered, the low frequencies were full and rounded, yet never bloated. Vocals were clear, centered, and textured, revealing subtle breath details without sounding analytical. The speakers delivered the performance with balance and confidence, neither exaggerating nor softening the energy.
To explore dynamics and bass control further, I switched to “Billie Jean” by Michael Jackson. The iconic bass line was tight and rhythmic, maintaining excellent pace without smearing into the midrange. The layered production of the track was presented with impressive separation; every element had its own space. The Jamo C 97 II showed that it can handle complex mixes while preserving musical coherence.
Next came something more delicate: “Keith Don’t Go (Live)” by Nils Lofgren. This track quickly exposes weaknesses in midrange clarity and transient response. Here, the acoustic guitar sounded vivid and resonant, with convincing string texture and harmonic richness. The applause and room reflections added depth, enhancing the illusion of a real performance space. The speakers portrayed micro-details naturally, without artificial brightness.
To test classical reproduction and imaging precision, I played Mozart’s Symphony No. 40 in G minor. Orchestral layering can often collapse into congestion on lesser systems, but the Jamo C 97 II maintained admirable separation between string sections and woodwinds. The soundstage extended beyond the physical placement of the cabinets, with believable width and respectable depth. The presentation leaned slightly warm, which made long listening sessions particularly comfortable.
Finally, I returned to vinyl with “So What” by Miles Davis from Kind of Blue. The upright bass carried weight and texture, while the trumpet floated effortlessly above the ensemble. Cymbals shimmered with refinement rather than splashiness. The speakers conveyed atmosphere and timing beautifully, capturing the relaxed yet precise character of the recording.
Across genres, rock, pop, acoustic, classical, and jazz, the Jamo C 97 II maintained a consistent character: balanced, slightly warm, spacious, and musically engaging. They do not attempt to impress with artificial brightness or aggressive bass. Instead, they focus on delivering an honest and immersive listening experience.
The Thomas Siffling Trio’s instrumental “Hallelujah” on vinyl sounded soft and natural. The lyrical and delicate trumpet was accompanied by a distinct, pulsating bass guitar and a well-defined drum kit in the background. In contrast, Randy Brecker’s trumpet on Rock Candy Funk Party’s Groove Is King was bright and piercing, complemented by a well-articulated bass guitar and rounded, dynamic drums. In other words, this vinyl setup, and, most importantly, the Jamo C 97 II speakers, allows you to distinguish the full spectrum of subtle nuances, both in the performers’ style and in the recording quality.
Conclusion
Across various genres, classical, jazz, and rock, the speakers deliver sound beautifully, yet without sacrificing naturalness. They sit firmly in the commercial (in a positive sense) mid-range Hi-Fi segment, where versatility does not turn into bland neutrality. On the contrary, the Jamo C 97 II can reveal the characteristics of both stereo components and source material.
Keep in mind, however, that this conversation will be honest. These speakers will immediately expose uninspiring recordings and poorly matched components, so careful system matching is essential.
Pros And Cons
Pros
- Natural soundstage
- Elegant Scandinavian design
- Excellent stereo imaging
Cons
- Slightly warm tuning
- Needs careful amplifier pairing
Jamo C 97 II Specifications:
- Type: floor-standing
- Number of bands: 3
- Acoustic design: phase inverter
- Speakers: Silk tweeter – 25 mm, MF x 1 / LF x 2 – 152.4 mm, HCCC
- Recommended power: 180W
- Maximum power: 360W
- Frequency response: 32-24,000 Hz (+3/-3dB)
- Impedance: 6 ohms
- Sensitivity: 89 dB
- Input Connectors: Chrome-plated bi-wiring screw terminals
- Dimensions: 1072x215x342 mm
- Weight: 24.5 kg
