Superb Live Recordings, post your favorites.
Posted by: Peet on 21 March 2015
"There is a special magic, an intimate vibrancy in a live performance which is impossible to recreate in the studio. I have often been asked to record live - a prospect which I have aspired to and dreaded at the same time - and I am delighted to finally have had the chance to do so. Here is some food for thought without any additives, sugar or preservatives. Enjoy." 
The room was filled to the brim with audio enthusiasts, the closest listener being just a few feet from the musicians and the microphones.
When the audience is so close to the musicians, a synergy occurs. The audience becomes part of the music making and help spur the musicians on to great heights.
The musicians feeling the empathy from the audience dare to take chances that one rarely hears in a studio recording.
Tony and Bert had not performed together as a duo before, and no rehearsal had taken place prior to the Rhapsody concert, but the music these two masters of improvisation created that sunny afternoon in Rhapsody, is simply breathtaking.
This trio is still widely regarded as his finest, largely because of the symbiotic interplay between its members. Tragically, LaFaro was killed in an automobile accident ten days after this session was recorded, and Evans assembled the two packages a few months afterward. While "Waltz for Debby" -- in retrospect -- is seemingly a showcase for Evans' brilliant, subtle, and wide-ranging pianism, this volume becomes an homage, largely, to the genius and contribution of LaFaro. That said, however, this were never the point. According to Motian, when Evans built this trio based on live gigs at the Basin Street East, the intention was always to develop a complete interactive trio experience.
sjbabbey posted:
The original version of course. it's a bit of a patchwork but contains definitive versions of "Red House", "Little Wing" and "Johnny B. Goode"
It most certainly does! It's unusual for a copy to improve on the original, but Hendrix managed to do that with his version of Dylan's All Along the Watchtower (so much so that even Dylan changed how he played the song), and in this case he created what has to be the definitive version of Chuck Berry's Johnny B. Goode. So good was it that even Marty McFly tried to emulate it.