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.
Had forgotten just how good this live recording is. The HDCD version is extremely good.
Yes a real classic.
Do you now if HDCD version is the same that HD tracks are selling?
![The Great Paris Concert [Atlantic]](http://cps-static.rovicorp.com/3/JPG_400/MI0001/810/MI0001810783.jpg?partner=allrovi.com)
Very well recorded with a band that is in great form.
Very well recorded with a band that is in great form.
excellent, got from qobus.
An astonishing debut album recorded at The Marquee in the mid-80s.
mono, but good sound and the playing is marvelous.
I wish this was available on CD or even better as a hi-res download. The playing is fantastic but
the auto compression makes it hard on my audiophile ears.
Thanks for this reminder. John Scofield is someone I would very much like to see in concert.
Patricia Barber ''A fortnight in France''
Very good live recording, but to my ears the treble is a bit exaggerated.
R.K posted:Esp May You Never and So Much In Love With You (with Paul Kossoff)
Great little John Martyn docu here;
Peet posted:Patricia Barber ''A fortnight in France''
Very good live recording, but to my ears the treble is a bit exaggerated.
Yes I agree. This album is an old favorite of mine ,but funny enough the voice is not as well recorded as the other instruments.
Compared to this other ''old favorite''the SOUND of the voice is lacking.
All music; [quote]It was nearly impossible to catch the Count Basie Orchestra in anything other than top form and this is the case with this CD recorded during a West Coast tour in the summer of 1958. Since the engineer remains deliberately anonymous, it is likely the band may not have been aware it was being recorded, but the stereo sound is excellent, though Basie's piano is hard to pick up at times. The play list is a nice mix of songs long associated with the band ("Moten Swing" and "Swingin' the Blues"), newer contributions by Neal Hefti ("Flight of the Foo Birds," the very popular "Cute," and "Li'l Darling") as well as some obscurities ("Blue on Blue" and "Slats"). Most of the tracks run under five minutes and there's plenty of solo space spread around between the band's members, plus two features for singer Joe Williams ("No Moon at All" and his hit "Well, Allright, Okay, You Win"). Although the location is not stated, the music comes from two or more sets at the Crescendo Club in Los Angeles. Fans of Count Basie will want to look for this Swedish release on the Phontastic label, as well as the companion second volume. [/quote]
These amazing live albums are some of my favorites on vinyl:
Diana Krall Live In Paris ORG 2LP 45rpm 180g Original Recordings Group Numbered Limited Edition Vinyl USA
Bill Withers Live At Carnegie Hall 2LP 180g Vinyl Mobile Fidelity Sound Lab Limited Edition MFSL USA
Les McCann & Eddie Harris Swiss Movement LP 180 Gram Vinyl Bernie Grundman Atlantic Rhino EU
Carole King The Carnegie Hall Concert 1971 2LP 180 Gram Vinyl Numbered Limited Edition MoFi MFSL USA
Herbie Hancock Flood 2LP 180 Gram Vinyl Live In Japan Speakers Corner Pallas Germany 2015 EU
The Dave Brubeck Quartet At Carnegie Hall 2LP 180 Gram Vinyl Columbia Speakers Corner Pallas Germany
Keith Jarrett The Köln Concert 2LP 180 Gram Vinyl ECM 1064/65 Audiophile HQ Pressing Pallas Germany
Harry Belafonte At Carnegie Hall 2LP 200 Gram Vinyl Analogue Productions Ryan K. Smith Sterling QRP USA
Neil Young Live At Massey Hall 1971 2LP 180g Vinyl Pallas Audiophile Pressing Bernie Grundman USA
Buena Vista Social Club At Carnegie Hall 2LP 180 Gram Vinyl World Circuit Ry Cooder Bernie Grundman EU
Kenny Dorham 'Round About Midnight At The Cafe Bohemia 2LP 45rpm 180g Vinyl Music Matters RTI USA
Thelonious Monk Quartet with John Coltrane At Carnegie Hall Mono 200gr Vinyl LP Mosaic Records USA
John McLaughlin Al Di Meola Paco de Lucia Friday Night In San Francisco ORG 2LP 45rpm 180g Vinyl RTI
Hugh Masekela Hope 2LP 45rpm 200g Audiophile Vinyl Analogue Productions Kevin Gray AcousTech QRP USA
This must be one of the best live recordings I have. The sub-bass on 'Lucky Man' is so loooooowwww I can feel my internal organs quivvering!
G
GraemeH posted:
This must be one of the best live recordings I have. The sub-bass on 'Lucky Man' is so loooooowwww I can feel my internal organs quivvering!
G
Is that the one with Cozy powell on drums?
oh sorry that is this one.... of course...
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k posted:Peet posted:Patricia Barber ''A fortnight in France''
Very good live recording, but to my ears the treble is a bit exaggerated.
Yes I agree. This album is an old favorite of mine ,but funny enough the voice is not as well recorded as the other instruments.
Compared to this other ''old favorite''the SOUND of the voice is lacking.
Yes ''Thousand Shades of Blue'' is one of the better vocal recordings. Sounds so natural and real. The upright bass and the drums as well, as if being there.
Peet posted:k posted:Peet posted:Patricia Barber ''A fortnight in France''
Very good live recording, but to my ears the treble is a bit exaggerated.
Yes I agree. This album is an old favorite of mine ,but funny enough the voice is not as well recorded as the other instruments.
Compared to this other ''old favorite''the SOUND of the voice is lacking.
Yes ''Thousand Shades of Blue'' is one of the better vocal recordings. Sounds so natural and real. The upright bass and the drums as well, as if being there.
The 12 pieces of music were performed live in the studio in front of a studio audience. The musicians were placed in front of a stereo pair of microphones with additional spot microphones on each instrument. The musicians were playing without headphones, the reason being that we believe that when we get the musicians to play together in the same room,with out headphones, it creates a number of musical and technical benefits:
As they are not ''separated'' by the headphones, the musicians, in order to hear each other are forced to create a natural and musical balance, a balance which is then easily captured by the main stereo pair of microphones. Because of the natural and musical balance the need for compression to control levels is no longer necessary, and since everybody is in the same room,the boxed sound which is so common in many modern recordings is absent, and the sound of the room helps ''glue'' the sound of the recording.
This is all very well but there are also problematic aspects to this procedure:
The room, studio, has to have a good sound. The musicians have to be very good and well prepared as it is very difficult to repair mistakes because of the ''cross talk'' between the instruments, we have to be very precise when choosing and placing the microphones and the puzzle of placing the musicians at the right distance to the main stereo microphones and the right distance to each other, is also time consuming. And when we have a live audience in the studio, we pray that they remember to turn of their cell phones and the ones with a bad cold choose to stay at home. The room where the recordings has been done is the now legendary Studio Eleven situated in the the building of the Dutch World Broad Casting Service. The Studio was used extensively in the 60's by European and visiting American jazz musicians (Wes Montgomery, Cannonball Adderley, Dexter Gordon, Eric Dolphy.....). The Dutch World Broad Casting Service asked Frans de Rond to bring the room back to life as a recording studio, and Frans after seeing and hearing the room jumped at the opportunity. Sound Liaison has been allowed to use the room for our audiophile projects and we are eternally greatfull to the Dutch World Service for the opportunity.
Recorded in Studio Eleven (Hilversum) with a live audience on September 15, 2012.
This recording was made by Sound Liaison for and with lovers of high-end audio recordings.
The file is a one to one copy of the master file (96kHz/24bit)
the Carmen Gomes album was recorded in a more controlled environment, live in the studio, while the Patricia Album is live on stage, that is a part of the explanation in SQ.
[quote]The first thing that may strike you about Sleeper—especially if you’ve been listening to recent Jarrett albums including Jasmine, his exquisitely pared-down duets with Haden, and Rio, an extended suite of mostly five- and six-minute sections—is its boundless energy. Jarrett was still in his 20s at the time of the concert. The 21-minute opening track, “Personal Mountains,” keeps building and building on a simple fetching melody, infused with Latin accents (Jarrett switches at one point to timbales) and such forcefully delineated left- and right-hand statements from the pianist that the music sometimes seems to be emanating from a quintet. Not until the 15-minute mark do things calm down, with a lyrical interlude that paves the way for a seamless segue into the lovely, hymn-like “Innocence.”[/quote]http://jazztimes.com/articles/...sson-jon-christensen