The Complete Concert was first announced how would it would compare to the earlier editions on vinyl LP, CD and SACD. confidently predicted that Analogue Productions use of the original master tapes and the work of the team at Sterling Sound would surpass all earlier releases.After listening to this new 3 Channel SACD edition I can tell you he was right. The 3-channel SACD of Belafonte at Carnegie Hall: The Complete Concert is a standout. The SACD has excellent imaging, sonics, acoustics and sound. There is no doubt; this is the definitive edition of this classic live recording, and a must-have for every Belafonte fan and serious music collector. PositiveFeedback

 

The transparency, three-dimensionality, tonal and textural purity and especially the riveting image specificity, while always obvious on every version from the beginning, have never been this pronounced—particularly the see-through transparency. Even the cover art graphics have been stepped up a few notches.

but it is among the greatest, if not the greatest live concert recordings ever made and Belafonte's and the orchestra's performances make it well-worth revisiting.

Sound 11/10  , Music 10/10 Michael Fremer AnaloguePlanet

 

The granddaddy of all live albums, this disc captures the excitement of a Harry Belafonte concert at the height of his popularity! Sampled from two consecutive performances of identical material, Belafonte at Carnegie Hall was an anomaly at a time when only comedy albums were recorded outside of the studio environment.

It wasn't the first live album ever made, but it was certainly the first to be a major financial and artistic success.

 

Harry Belafonte has always been a musical chameleon. Using a thick base of folk music, he added blues, soul, jazz, pop and a plethora of various Caribbean styles to create albums that were unique, socially relevant and just plain entertaining. The first of his two essential live recordings produced by Bob Bollard at New York's famed Carnegie Hall features material culled from two identical performances on April 19 and April 20, 1959 to benefit The New Lincoln School and Wiltwyck Scholl respectively. 

 

Belafonte At Carnegie Hall was documented at the height of the singer's success when it wasn't fashionable to record outside of the studio environment, yet it proved to be an artistic and commercial breakthrough for the music legend, earning a nomination for Album of the Year at the 1961 Grammy Awards and lingering on the charts for over three years. The revered 19-track affair is divided into the three acts Moods of the American Negro, In the Caribbean, and Round the World, and finds Belafonte's world class voice wonderfully supported by a a small combo of two guitars, bass, and percussion, and a perfectly timed 47-piece orchestra conducted by Robert Corman.

 

"You can count on one hand the number of times recording microphones happen to be “on the scene” at the right time and the right place to capture an inspired moment of performance. This is one of those few. What started as almost a reckless recording risk turned into another giant statement in the Belafonte story.

The idea of taping the two Carnegie Hall Benefit performances was not Harry’s; we asked for it, part hunch, part wild gamble.

 

"Recording hazards were many: – immense preparations and permissions with musicians, stage hands and the hall, – microphoning a performer who roamed all over the stage, shouted, whispered, provoked audience singing, – accompaniments which varied from a 47-piece symphony to a single guitar and bongos, – and, above all, the one-time-only chance for a good pickup and performance.

 

"What happened April 19th and 20th is historic even at Carnegie. There are always ways of explaining and analyzing after the fact. There must have been a special performance challenge in Belafonte’s first Carnegie Hall program, for example. There was also the sharp exhilaration for soloist and audience sharing the same emotional setting: a huge house packed two nights in a row for a splendid charity (Belafonte’s singing contributed $58,000 on one night alone to the Wiltwyck School which works with emotionally disturbed boys.) And each song was a familiar and famous high spot from a remarkable career.

 

"All of these undoubtedly added their impetus and made this concert soar. The exciting fact is that we can actually hear it as it happened. Belafonte’s spontaneous sorcery with an audience is on disc for the first time. Through the expectant audience hush, the beating introduction, the opening shots of Darlin’ Cora, the Belafonte high voltage mounts by the moment. This is Belafonte “live.”

 

"Almost one whole side has been reserved for the concert climax: the famous uncut Belafonte treatment of Matilda.

All Carnegie Hall sings and rocks – the same mighty crescendo which took place at a packed Waldorf Ballroom, Lewisohn Stadium and personal appearances everywhere.

But this time for all of us via microphone and tape machine.

 

"There has been no re-recording of rehearsals or sound tries, no splicing, (there rarely is even on Belafonte studio performances).

This is what actually happened. The same songs were programmed both evenings.

Performances selected here are about equally divided between the two nights." - Bob Bollard, original album liner notes

 

Musicians

 

Bob Bollard (producer)

Robert Corman (conductor)

Harry Belafonte (vocals)

Millard Thomas / Raphael Boguslav (guitar)

Norman Keenan (bass)

Danny Barrajanos (percussion)

47-Piece Orchestra