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  1. #1

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    What do you prefer studio or live CD?


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  3. #2

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    Live or CD recordings of live concerts.

    "The instrument keeps me humble. Sometimes I pick it up and it seems to say, "No, you can't play today." I keep at it anyway, though." Jim Hall

  4. #3

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    recording from live concert with audience or studio recording without audience?

  5. #4

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    As I see it, it depends on the music at hand. There's fine music and there's not so fine music both studio and live. Everything equal, I might prefer live. But everything is not equal.
    "But if they all play like me, then who am I?" (Lester Young)

  6. #5

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    There is a different energy during concert but is it possoible to hear it on CD/from this concert/...?

  7. #6

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    I like lives much better usually. Adrenaline + audience feedback = win.
    The possible multiple takes in studio is no guarantee for the magic to happen by itself. The sound can be more refined though.

  8. #7

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    It depends. I like both but on a Live Joe Pass recording I have you can actually hear what's going on in the back round, like the banging of bottles by the bartender, and even the cash register! I haven't been able to transcribe a bartender or register yet.

    I have a lot of live Blues and Rock CD's that I love, but I tend to not listen to those as critically.

  9. #8

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    Apples and oranges, but I prefer studio recordings.

  10. #9

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    All things being equal the studio should be MUCH better, since you can control almost EVERYTHING.

    But someone forgot to tell Joe Pass that...

  11. #10

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    I like both. Depends what I'm in the mood for.

  12. #11

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    'Studio recordings' is a bit too general as well: do you record all instruments at the same time in the same room with the instruments bleeding into each others mics? Then there is no room for corrections and overdubs, but lots of room for interaction between the musicians. Or do you record each instrument in isolation so you can correct mistakes and play 10 solos and pick the best one? (Or even combine the best bits of every solo... I think I read once Pat Metheny worked like that on some albums?). Each approach yields different energy I think and perhaps suits different styles of jazz better.

    The old Blue Note recordings (for example of Grant Green: The Complete Quartets With Sonny Clarke) can feel very live and with a lot of interaction between the musicians. Great to listen to! But I also love records of - for example - Ronny Jordan that are composed out of samples and sequencers and all the 'live' instruments are recorded later on top of that.

    Live recordings of Wes are always great: I am always flabbergasted about how little mistakes and slips of the fingers he makes. The man was almost flawless!

    So... no real preference here, it can all be great!
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