On March 26th, 2009, 40 years to the day of their founding, the Allman Brothers played a show in their legendary annual run of concerts at New York City's Beacon Theater, that will go down as one of their best. How did they pull this off? Like many vintage rock and roll bands have done in recent years, they decided to play some of their greatest albums, track by track, and back-to-back. Since this show, they have done more of that, and will revisit their 1972 recording, "Eat A Peach", later this summer at one of their final performances at the Peach Music Festival in the Pocono Mountains of Pennsylvania.
Yours truly, will attend that gig, and have a report. However, let's shift focus back to this gig, recorded five years ago, and then, in that amount of time... left in an archive vault. The band did something that is a rarity in rock and roll, although, has been done before. They played their first two albums, back to back. Their self titled debut, 1969's "The Allman Brothers Band" came first, and the band set sail, playing the album note for note, but also throwing in trademark improvisation that only they can muster.
The closer to the first set, (which would usually mean the end of the show for one of their tour gigs), was the epic, "Whipping Post", that Gregg Allman wrote after an early romantic relationship gone horribly wrong. The power in this song, encapsulates what one side of the blues, is all about. Sheer and utter pain of betrayal by a supposed lover who was far from being faithful. So, the album comes to a close on a triumphant crescendo, and yet, still leaves pain felt by the listener relating to the lyrics of the song.
An hour into the DVD, Gregg Allman thanks the audience and says, "we'll take a short intermission, and be right back." Well, after intermission... the mood changes with the band's second album... 1970's "Idlewild South". The opening track, "Revival", is a jovial romp, even though it also has that classic message of the Vietnam war era that war isn't the answer, and rather, love and peace, is. Derek Trucks teases "Joy To The World" in the middle of the instrumental break... something that Duane Allman also did in early ABB performances or recordings.
Trucks follows this, with some swells accomplished with the slide, and with the knobs on his red Gibson SG. Warren Haynes adds a ringing, melodic solo of his own. These two, have anchored the Allman Brothers for the last dozen or so years, and will be one of the great guitar duos of all time, rest assured. Next up, it's "Don't Keep Me Wondering". This romp of a tune, was also recorded live on "Live At Fillmore East" with the band's buddy and ace blues harmonica player, Thom Doucette, sitting in.
Even sans the harp, this version from The Beacon, is tight, syncopated, and in the pocket. Derek's slide solo, emulates the original by Duane Allman, and sings. Quick as it began, "Don't Keep Wondering" comes to a close. Next up, is probably one of the most well known tunes in the entire ABB catalog. "Midnight Rider". Short and sweet, but, just like the record, this version, contains the cool, extended guitar outro, played, by Mr. Trucks.
OK. It's time, to enter, deep space. Enter the jazz improv zone at your own risk. I have five words for you. "In Memory of Elizabeth Reed". This is arguably, the ABB's journey into the musical mystery that is electric jazz. One key, one mode. All, some of the best improvised music ever created. Yours truly has heard this song on ABB recordings numerous times, and it still mesmerizes. Trucks, Allman, and Haynes, in that order... deliver memorable solos. Aside from the guitars, and the drums, the mighty Hammond B3 is the other hallmark of the ABB sound, and Gregg Allman, is a master of the instrument. The band sails into the stratosphere, channeling not only their founder... Duane Allman, but also, many of the jazz greats like Coltrane and Davis.
Former ABB guitarist... Dickey Betts, composed the tune, and obviously, had the music of some of those greats, in mind. The only gripe with this particular performance, is, the tune, ends way too soon, in favor of the ubiquitous, drum solo. The three headed drumming monster of Trucks, Johansson, and Quinones, shakes the earth, and bassist Oteil Burbridge, even takes over Butch Trucks' kit playing with Jaimoe and Marc Quinones, while Butch, mans the tympani.
"Liz Reed" tops out at nearly 40 minutes, despite half of it, being the drum solo. Still, the interplay and syncopation really swings, and before the uber drum jam, Oteil steps up for a bass solo, on six string bass, complete with scat singing. Derek Trucks backs him up briefly, but then, allows Burbridge to fly solo, looking on, and listening intently, before finding a place to join his band mate, and friend, on a groove, along with the drummers.
Oteil and Derek walk offstage, and let the drummers loose. But then, Butch Trucks moves to the tympani, allowing Burbridge to come in, and jam on his kit. The guitars come back in making a thunderous entrance along with the tympani. But, no more Liz Reed. Instead, it's an Eastern sitar/sarod influenced slide intro, with Gregg finding a chord on the organ and more slide action from Derek. Then comes, "Hoochie Coochie Man", the Muddy Waters classic, to continue "Idlewild South".
Warren Haynes, steps up to the mic for this one. The band's original bassist, the late Berry Oakley, originally sang lead vocals on this tune. Then, the guitar pyrotechnics resume, with solos first from Warren, and then, Derek, after the second verse. This is a showcase for how wickedly amazing Trucks' solos are, WITHOUT a slide. "Hoochie Coochie Man", another short, sweet blues. Then comes, one of the most poignant songs on the album. The second to last number... Gregg's heartrending ballad, "Please Call Home", played on the piano, rather than the B3.
Warren adds a brief solo, and Derek responds, to the words sung by Gregg in the second and third verses. Into the home stretch of the show now. Next up, it's another song with a message. "Leave My Blues At Home". Take it easy, even if you might have problems in life. Look for something better. Don't settle for negativity. Again, Derek Trucks shines, even without his slide. But, Warren, this time, chooses to use the bottleneck to great effect. The song climaxes with a dueling lead between the two. Good stuff!
Gregg and Warren thank the crowd. Then, the encore is... "Statesboro Blues", the opener to what would become the band's seminal album... "Live At Fillmore East". Gregg on piano, Warren on slide guitar. By now, it's late in the evening, and Gregg has a few hiccups in the middle of the tune, maybe not quite remembering the verses. The vamp continues on "Statesboro" as the credits roll.
Gregg recovers, singing verse two again, and the song ALMOST stops. But, everyone recovers, ending with a flourish. Gregg thanks the audience, saying, "we'll be back tomorrow night, and we'll have more mistakes for you". all in sarcasm of course. That's a wrap! A great show, and a worthy addition to the collection of any Allman Brothers fan, or music fan in general. The band may retire at the end of this year, but this DVD is a sure fire way to keep the memories of their music alive and well. Three words. Check it out.
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