The drums of course bleed through into both mics which ultimately results in a satisfying listening blend and an often remarkable sense of Stereo separation (listen to Elvin Jones’ solo on “Interlude 2” to hear what I am talking about).Īs they point out in the the liner notes, whomever made this recording knew what they were doing with this equipment! The tapes were stored carefully and are thus remarkably clear and distortion free. The producers of this album feel that the mics were probably set up some six feet apart, one close to the piano and the other nearer to the instruments front of stage. Some of you may be wondering how this new recording came into existence. The press materials tell much of that story: “The tape reels containing this performance from October 1965 sat in the private collection of Seattle saxophonist and educator Joe Brazil, heard by a few fortunate musicians and friends-and largely unknown until now.” There is much more detail in the liner notes for the album when you get your physical copy.Įven though A Love Supreme: Live In Seattle is a simple recording - created using The Penthouse’s two-microphone on stage set up connected to an Ampex reel-to-reel, according to the album’s liner notes - the band’s presence is huge in this new version.
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