I guess it depends on whether one wants a natural sounding soundstage, that is a result of good recording methods and techniques, capturing the existing ambient and spatial cues of the venue where the performance is occurring. Or soundstage created in the studio, that does not actually reflect a real acoustic space.
While I like both types, IMO, the most satisfying, is the preproduction of an actual soundstage, recreated by good recording methods, that have captured the spatial cues of the acoustic space where the performance is taking place.
For example, an average classical recording, has a more realistic soundstage even the best rock, pop, country, recording. Jazz recordings are also likely to have a natural soundstage.
I own a recording on the label Varese Sarabande of he LA Chamber orchestra performing 2 great pieces ("Static and Ecstatic" & "Kitharaulis") by modern serial composer, Ernst Krenek. The soundstage on this recording is amazingly 3d and open. While listening, I can easily imagine myself getting up, and walking among the musicians in the soundstage my system transports me to. Musicians extend well beyond the wall behind my speakers, and well beyond the outer edges of my speakers.
I also own other modern classical recordings on the Nonesuch label, by composers such as Elliott Carter, Joseph Schwantner, Stefan Wolpe, Charles Wuorinen, that have comparable natural soundstages.
Musically, these recordings are modern, serial, atonal, dissonant, and overall, ’thorny’ sounding classical, so, YMMV.
For jazz, it is tough to beat the ECM label. Even though most of these are recorded in the studio, they are done with minimal studio effects, and have a very natural soundstage. Both vintage vinyl recordings, and contemporary digital recordings, have a very good soundstage.
