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.
Peet posted: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.
I mean that a live recording in a club has a the problem of a P.A. system amplifying the sound, which also gets picked up by the microphones.
This is nicely recorded and involving too. Not entirely sure about the outright quality of all the music, but for me worth it just for 'lonely man Blues' . Snowy has a fabulous original 57' Les Paul Goldtop. The sound he gets from it on the intro of that track is worth the price of entry on its own. Try it on Tidal?
One more from me. The acoustic tracks at the start are the highlight, especially 'in your atmosphere' and 'free fallin'...
kevin J Carden posted:
Thanks, I'm really enjoying this on Tidal. Supposed to be cooking dinner but I keep having to go sit in the sweetspot just to sit and enjoy this performance!
It is Easter so a bit of Bach is appropriate.
These 4 jazz musicians with one classical cellist have made a surprisingly fresh take on the old masters music and it is live in front of a studio audience. http://www.soundliaison.com/
[quote]
''He is doing what we are trying to do!'......that was Charlie Parker's comment upon hearing a recording of J.S. Bach's Organ Preludes for the first time. J.S Bach's music has always been an inexhaustible source of joy and inspiration to the jazz musician. No wonder that jazz musicians feel such a strong connection to Bach's music. Bach was in his own time equally famous for his skills as a virtuoso organ player and improviser as for his compositions, compositions that often enough had begun as improvisations. The Bach Reflections project was started 2012 by Gerard Kleijn and Dick de Graaf in order to search for another level in Bach's music by connecting it to the Jazz music of our time. In Ed Verhoeff, Paul Berner and Larissa Groeneveld they found like minded musicians, who were willing to investigate Bach's music and search for new ways of interpreting the message of Johan Sebastian Bach. The musicians of Bach Reflections rearranged compositions of Bach, or just took small elements of Bach's music and build new compositions or improvisations around them. The result is a very charming and musically satisfying rendition of what Bach could have sounded like had he been born in Kansas City in 1920 instead of Eisenach in 1685.
The recording took place in the legendary Studio 11, in Hilversum the Netherlands, in front of a live audience.
The presence of an audience in the studio creates a certain energy,an immediacy, a need for the musician to reach out and get the music across,in short a synergy of music, musicians, audience and recording engineer.
The musicians were placed in a half circle around a stereo pair of Schoeps MK5's.
Spot mikes were placed at each instrument for emphasis.
The musicians played without headphones there by forcing them to maintain a natural balance.
This recording is vol.3 of the Studio Showcase Series.
The recording is a one to one copy of the Studio Master file, 24 bit/96 Khz..No conversion of any kind has taken place. You are hearing exactly what we and the musicians heard finishing the final mix.[/quote]
k posted:
[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
I love the combination of Jarrett and Garbarek, only wish they had made more albums.
Bert posted:The Jimi Hendrix Concerts.
Very good sound quality, especially the drums in "I don't live today".
"Stone Free" rocks along for more than 10 minutes. Brilliant stuff.
Indeed, incredibly good sound quality from 1968 in "I don't live today".
Fantastic album compiling the best live recordings from different gigs. The power in Stone Free and Voodoo Chile!!!
Did anyone suggest this? If so, I'll +1 it.
one of those live albums that is somehow better than, or at least different to the performers studio efforts.
kevin J Carden posted:
Did anyone suggest this? If so, I'll +1 it.
one of those live albums that is somehow better than, or at least different to the performers studio efforts.
The recent MFSL reissue is just superb, amazing music, amazing sound quality 
Forgot about this gem. Playing it now. Great and unique talent this guy. This is a good intro if you don't know him. Another very immersive live recording too.
I'm certain this album's PRAT will excite many, especially track 4.FOC played through naim amps.
Vinyl Gourmet posted:kevin J Carden posted:
Did anyone suggest this? If so, I'll +1 it.
one of those live albums that is somehow better than, or at least different to the performers studio efforts.
The recent MFSL reissue is just superb, amazing music, amazing sound quality
Old favorite of mine, great album.
Ray Low posted:
I'm certain this album's PRAT will excite many, especially track 4.FOC played through naim amps.
..these guys are all about prat, so I guess this album is not an exception. I always call it hard rock on classical guitar....
Did this get flagged yet? Another live album that IMO bests the artists' studio recordings.
kevin J Carden posted:Did this get flagged yet? Another live album that IMO bests the artists' studio recordings.
Yes Rory had to be heard live. If ever someone needed an audience to play his best, it was Mr. Gallagher. What became of him?
Peet posted:Peet posted:
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.
Pioneer is using the Carmen Gomes album to show of their new audiophile MQA player;
http://www.whathifi.com/news/p...-hi-res-music-player
dry_stone posted:
Of all the bands I saw at the 1970 Isle of Wight Festival
A Taste album was the first I played when I eventually got home
Possibly the worst live recording I have ever heard (I also was lucky enough to be there).