And we're live in three, two, one.

I'm Adam Manus.

And you're listening to the You'll Hear Podcast. Daily Jazz Advice coming at you. Now, we're not technically live. We are speaking lives to each other, and this is recorded. So that may go with the topic of today, which is seven great live recordings. Yes. I can't believe we haven't done this episode before. And I know. Well, we don't really check, so we could very well be repeating, but I don't think we have. I don't think we have, no. This is, I mean, so many classic records are live recording. Some of these records have definitely made our other seven lists. Yeah. Yeah, it's very interesting. Well, I mean, you know, there's a certain type of jazz connoisseur. I don't know if we individually are together actually like this, but this kind of hardcore,

maybe even into the jazz police category, where, like, they think that the only true jazz

recordings are live recordings, like that jazz has to be consumed in a live situation,

that studio recordings are somehow, you know, watered down versions.

I mean, honestly, I kind of get that because jazz is so immediate and some of the best, I mean, honestly, the best music I've seen has been live.

Yeah, I mean, there's nothing like it.

But, I mean, studio recordings, I think when you have groups and musicians that have that kind of mentality

of the spirit of the music is the same as if they were playing live in the studio, that

can certainly be represented well. But today, these are all true live recordings with audiences

that have been documented, loved, and over the years. And let's kick it off. I guess I'm going to kick it off, aren't I?

Kick it off.

What do you guys? Okay. So number one, I've got Miles Davis Quintet live at the Black Hawk Friday and Saturday night. Originally different separate LPs, but I've seen them packaged together a lot, so we'll kind of consider them together. I love Saturday. Friday was great, too. but you know you've got you know

Jimmy Cobb

Winton Kelly this is 1961 I love Saturday. Friday was great too. But you know, you've got, you know, Jimmy Cobb,

Winton Kelly. This is 1961, I believe. Man, such a good band. Hank Mobley. Paul Chambers,

of course, the great Paul Chambers. And, you know, the Black Hawk, which I don't know a lot about

the club. I believe it was in San Francisco. I know Bay Area. But the sound is just so great on this record the band is just firing i mean this is definitely those i mean it's it's it's great how they call it friday and saturday night you really get that feeling that it's a club thing now one thing i do know i don't know how common this knowledge is well you can hear it on the recordings i remember figuring this out when i was a kid you know there's some editing on there surprisingly and it's they're pretty rough edits because

it's live you don't have any separation like during the tunes during the tune i didn't notice that

yeah now i think on i've heard on later versions that they um added back in i know i've heard

maybe there were alternate takes added added in the edited parts,

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