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Leading off with the Brothers and Sisters Super Deluxe Set which I am finally, forcefully tucking back into my collection Chuck’s dominance, artistry, skill and taste are all over this collection. The aforementioned A Minor Jam and the Southbound rehearsal are but two examples.

The live set from Winterland that make up disc three and four shine. The whole show holds up really well after all these years except for an unfortunate long solo by Dickey on Done Somebody Wrong and Dickey sounding so alone on all the Duane and Berry era tracks when he steps out for a solo.

However there are exceptions to that obviously missing Duane and Berry counter attack. Stormy Monday comes to mind and features Chuck well suited and perfectly dynamic trading riffs with Dickey and that’s not the only time. It’s a testament to how excellent a player Chuck is and how good a band we have here.

Other stand out tracks are all the tracks this lineup originated on its own and they fly. Les Brers clocks in at 25 minutes with an absolutely stunning drum segue that floats, chugs, crashes, meanders and gently settles down. It has a melody of its own. It’s a standout moment in my mind, stunning and speaks volumes to just how good Butch and Jaimoe were together and maintaining that sympathetic ear.

The power excellence and mastery of Butch and Jaimoe is fully realized here on this extended jam and it works as a standalone piece of music unlike any other drum segue, or solo I have ever heard.

I’ve listened to a lot of music in my day and have gone to a ton of shows both large and intimate and spent ten years plowing through three hour sets on the air. I have been studiously listening to the ABB catalogue processing, honoring, sharing, relieving and letting it inform my writing. So how can a drum solo not get old after repeated listening? Most do on just the second run through.

This is really a standout track and a word on Lamar as he gently joins the band after the monumental excursion stepping in as if on air. He melds with Butch and Jaimoe before thunderously launching the band back into the main refrain. Lamar helped anchor down the groove and held that bottom end firmly in the pocket his playing much more refrained somewhere between Berry and Woddy’s efforts Oteil being to the left of Berry in my opinion. Woddy I have a mad love affair with but later on all of that.

Chuck’s work here is what we recognize so clearly as if Big Ben was ringing right in our face. Who knew what to expect after Eat a Peach and wow Southbound and Jessica just re-energized not only the band but the fan base taking us by surprise and delivering the goods in a serious, beautiful landscape of poetry, finesse, and energy. We’re back kids and keep the faith!

Charles deserves high praise and appreciation for re-launching the Allman Brothers back over the fence after Duane and Berry. He is a pillar of the band propelling them forward in a significant way.

Brothers and Sisters cemented the ABB in the general population’s heart and minds. The road that goes on forever gets a little rocky going forward but the work Chuck did not only with Laid Back, Brothers and Sister, but Highway Call galvanized the concept of virtuosity be associated with this band to the world at large.

When Chuck takes the hand off on In Memory of Elizabeth Reed here on this Deluxe Collection there is no mistake that he is an Allman Brother, born a brother, and a brother he always shall be.

When he hands the break back to Gregg no one is wondering who or what that was or notices someone else has stepped in and Dickey’s playing on this live track is freakin’ fierce.

The music is the music of the ABB and Chuck Leavell is right there where it belongs bringing it to us despite the travesty of fellow band members dropping like freaking flies for god’s sake. But the challenge almost doesn’t exist as the gods call forth the muse again and again not to be denied by human failings. If brother Chuck doesn’t have a mushroom on his calf I’ll put one there myself!

 

8d4c4327bdf843bb16f2bb55698eae29--atlantic-records-allman-brothersBrothers and Sisters – The Super Deluxe Edition is a four disc orgy of music from 1972 and 1973 as the ABB sought to redefine itself after Duane and Berry departed. Disc one is the album of course but disc two has some very nice surprises of unreleased outtakes, rehearsals and jams.

Berry, Berry, Berry, dear lord if Berry could have just hung in there flat picking the bass like a guitarist working alongside Dickey what a dream that would have been. We catch glimpses of this in the outtakes.

Brothers and Sisters proper comes to us with Berry only on two tracks. And while we can hear him funk it up beautifully on Wasted Words with the ABB’s opening swagger fully present he’s lost in the mix of Ramblin Man. Dickey and Les Dudek’s guitars jangle out front so far that Berry’s left to anchoring down passive beats.

Duane gets the headlines understandable but Berry is a beautiful and unique player his loss is just as immeasurable. So it is with great joy that on the rehearsals on disc two Berry is featured on four more cuts.

To hear Berry funkin’ it up on Southbound is fantastic. It’s an instrumental take and they just get right into it with Chuck Leavell. In the liner notes I seem to recall Chuck’s glowing words about how accommodating and welcoming was Berry. It’s such a shame we couldn’t have had a healthy fully realized Berry for as long as we had Gregg and Butch and have Jaimoe, and Dickey.

Duane and Berry one or the other sacrificed to the music gods is bad enough (horrible for family and friends) but losing both wow what a devastating blow across the board. But we have their music and the soul of their expression.

On another rehearsal take the ABB casually saunters into Outskirts of Town with a mellow sway that gives Gregg and Chuck ample opportunity to play together and create. It’s fantastic hearing so much of Gregg’s playing and alternating sounds as he and Chuck trade passages.

The final track of the Rehearsal Disc is simply called “A Minor Jam” and it features Les Dudek, Chuck and Lamar with just Butch and Jaimoe. Maybe this is the birth of Sea Leavell in Chuck’s mind? I can certainly see that germinating because this track just rips it up in a jazz inflected cadence that jumps out with a crescendo and a very fast back swing. It’s a tremendous track and clocks in at a healthy sixteen plus minutes. I absolutely love it.

So “what if” Les had been brought in would the ABB had more of a jazz fusion bite than it already was going to have? Listen to this cut if you haven’t in a while. It’s strong. So what’s up with the whole Les Dudek thing?

According to Les after Duane died Dickey was going to form his own band. There was plenty of music at that time in Macon including the Caldwell Brothers and Marshall Tucker. Everybody was cross pollinating with each other and Les was living in Macon as well. Gregg asked Dickey to hang in there with the ABB and Brothers and Sisters was born. It appropriately features four Betts originals with Les Dudek’s help on Ramblin’ Man and Jessica.

Les is a great sideman who played with a bunch of heavy weights including Steve Miller and he has the chops. He would have really flourished with the ABB rhythm section and Chuck and their collective vision. Les’s solo albums in my opinion don’t come anywhere near the glimpse we get here with the McCoy Tanneresqu so called “A Minor Jam”. It’s a heavy jazz stretch that works and I for one would like to hear more of Les Dudek from these sessions.

The thing is Les is still out there and so is Chuck and so is Jaimoe. It offers intriguing possibilities and I’d sure as hell would buy a ticket and purchase the music. Lamar sounds great on this track so the bass player needs to have that jazz soul as well. If I were King I would make this happen.

Disc one features the original release and while we were all captured by Jessica the blues swing of Jelly, Jelly and Pony Boy really still captures my heart after all these years. The sequencing of the songs is excellent and Southbound just jumps out after Jelly, Jelly. After Jessica triumphantly closes Pony Boy waltzes in with a piece of straw in its mouth and a casual tude that flat out states fuck this bullshit we’re alive lets have some fun. It’s rambunctious, it’s acoustic with a standup bass and closes with some dueling hambone and a subtle chuckle at the end what’s not to like?

There is not a bad song on Brothers and Sister and it’s a triumph of perseverance and vision. It’s worlds away from Beginnings, Fillmore, and Peach but respectfully so and how could it not be? The road going on forever such as it does you’ve got to expect a few turns even radical and so we all have. Dickey’s melodic technique and voice come to the fore different than Duane but well established and part of the texture and landscape we had come to love. A necessary foil to Duane’s greasy slide attack and taste Dickey is now out front on his own. Truthfully in some parts of the many varied tracks on this monster release even with Chuck Leavell’s enormous talent Dickey just sounds lonely and it’s sometimes sad. I’m not taking anything away from the music but it must have occurred to him as well and all the band.

You have to compartmentalize the sounds of the ABB before and after Duane and Berry don’t compare them. It’s then and only then that they both stand as monumental pillars of our global musical heritage second to none both historically and righteously forever in the moment and hitting the note.

Brothers and Sisters has taken up residence in my player. Bill put together a beautiful “Super Deluxe Edition” and Scott wrote a beautiful essay with Kirk and many others including EJ contributing. There is a ton of music.

And so now the band’s sound has changed. Of course it has how could it not? You cannot take the human element away from the creation and not have that creation change in a profound way. No gear or person can substitute step in for another and have it be the same. It’s a physical impossibility. It doesn’t matter if you have the licks down, it doesn’t matter if you have the gear, it doesn’t matter if you have the throat. The human factor, the heart, the hands, the journey, the affinity for the music, the vibe, the understanding, the knowledge, the study, the dedication, the humility, the ego, the upbringing all speak to the particular individual the intent, the focus, the clarity it’s all a part of the mix. Remove something as dynamic as one human individual and it changes. It’s in the blood.

The beauty of the ABB is that they knew this quite clearly as Duane and Berry were their own men. And so they forged ahead without their brothers and created a new version of themselves as a band, a group, but more than that they stayed on the mission to stay as pure to the music as they could. They were still listening to each other both on and off stage.

Time doesn’t stand still it morphs and changes as we do as well. Along the way it informs us as we mold the clay that is ourselves with our decisions, intentions, actions, thoughts, words and deeds. That is who we are and that is what comes out after we plug in. It sounds like you because it is you and you are who you are and what it is, what it becomes depends on those very factors, those points, that DNA that road you traveled and no one else has – hopefully it’s a good one and you are the hero of your own story. The guy on the left sure as hell was.

Little Martha – whether Duane was referring to an old girlfriend or not is irrelevant. The fans have designated this young soul as Martha. How could we not? After all she stands watch forever forlorn in Rose Hill Cemetery just the way we feel after the smoke has cleared and the show has ended. And the fans do get a say about all of this the ABB fire and passion, life and journey, the gothic southern novel of it all and the revelation of the music.

Little Martha: Two minutes and seven seconds is never going to sound so complete and pastoral. When I finally arrived at performing a facsimile of this song I was there. It was one of my goals to try and learn it and it takes time. There are so many moving parts and I’m not a full time musician but a labor of love and love is after all what it is all about. Of course my version pales to the original I’m only two hands but when I get it moving and it starts to transcend and I follow the melody and inspiration where it takes me well the muse is floating there smiling and I feel as one feels when they get after it and hit the note, take the journey and feel the vibe. That’s why we play isn’t it and why we share of ourselves to bring it all out and bring it all together?

And so we have the closing of Eat a Peach but what about the opening?

What better tune than Ain’t Wastin Time No More expresses lyrically each of our precarious positions in this reality? It’s as much of a lyrical touchstone as Little Martha is an instrumental touchstone. Both are gigantic in their beings complete and resounding at once effortless and complex. A lyrical milestone Ain’t Wastin Time No More covers the whole realm of existence in stanza after stanza. That’s right its poetry and more than a song. Gregg has composed words to live by. I had a friend once say to me, “you can always make money but you can’t make time.” I fully encourage everyone to play hooky as often as you can. Life is so much more than punching the clock, collecting a pay check and paying a bank. Listen to Ain’t Wastin Time No More back to back with Little Martha and hit repeat it’s kind of a revelation of juxtapositions with Gregg’s lyrics sitting beautifully next to Duane’s acoustic poetry.

If you do run the tunes together back to back after Little Martha ends the intro to Ain’t Wastin’ Time No More is an acoustic piano. There seems to be some righteous acoustic symmetry to that and righteous was the way the brothers – all the brothers in the band – treated their music their creation and that’s why the payoff was so huge.

There’s a lesson in that for all of us in how we choose to live our lives, what we say, how we act and what we do. The lesson is quite literally in the lyric of Ain’t Wastin’ Time No More and that feeling embodied by that lesson is in the song Little Martha as it translates those words into a painting of notes awakening across the sky of your soul. One preceded the other so perhaps we have Gregg translating for us what Duane was trying to tell us in his music and all you really need to live a life well fulfilled with joy and happiness and prosperity brothers and sisters is to bring some righteousness to what you do and how you live and breathe.

In Memory of Elizabeth Reed off of the Eat a Peach Deluxe CD from the June 27, 1971 closing of the Fillmore opens up deliciously smooth and elegant. The band just slides into a relaxed tempo and it’s the most refreshing version of this number I have heard. Here the band is taking its time. The intensity slowly builds like true love making ought to be through this excursion.

The lead work is original and in the moment. The drums splash beautifully in the background as Dickey drives his vision forward with the band having his back all the way. After you play so long together you have a true sense where your band mate is going and you are allowed to listen and get there with them. You can really hear this in Berry’s playing and the drums, oh the drums gently sitting in the mix right where they should be never over powering but well heard. The rhythm section has the anchor and counterpoint in complete subtle sympathetic syncopation.

Gregg jumps in with short chord runs sharply leading the band. The clarity of the mix is perfect with the organ fully heard out front and it chimes and grooves and swaggers righteously. It sounds beautiful, fresh and inventive….then his brother steps up….

Biting, sharp, relentless guitar attacks funk out before sailing off and then returning to a blistering foray all the while Butch, Jaimoe Gregg and Berry keep the tempo locked down as we drift off into a meditative frame punctuated by mid tone arpeggios as the band sways easily like spanish moss….and then the gibsons get vicious, biblical with fierce clean attacks and not overwrought then settling down again for more delicious mid tone punctuations the entire band right there as the drum sticks come forward just a bit then everyone builds together catching fire once more in a tenacious drive while the overall groove stays calm and cool….(how the fuck do you play the guitar like that) fantastic as they perpetuate the drive forward abruptly to the drums briefly and then back to the closing and locking it back down as they close the door on their creation. Holy shit what’s behind that door they just opened and what kind of force, power and vision did they tap into in that graveyard? It’s a thing of monstrous beauty whatever it is and strongly rendered. This is a sublime ferocious and beautiful version of a seminal tune.

In Memory of Elizabeth Reed deserves its own spot in the Smithsonian and for that reason I’m singling it out here. We all know the tune there must be thousands of renditions but this one reads all the passages in such a refreshing calm inventive and fierce manner. The nuanced beginning followed by the expansive meditative dynamic giving way to the fiery crescendos and the thundering close. It’s a standout version at once both mellow and intense with a deep deep groove. Upon hearing it again after so many years with fresh ears it is all too clear while some of us have the good fortune to be totally obsessed by this band and their music…

Eat a Peach – the Deluxe Edition with the second disc devoted to the closing of the Fillmore in June is a freakin’ tour de force. Scorching through the stratosphere Hot Lanta is just fantastic. The mix is stellar and I’ve been listening to it on crappy car and desk top speakers as well as my treasured Polks. Berry is clearly heard and of course the tone of the guitars is so vintage, biting, just the right amount of fuzz not overwhelming to distort the true tone of the notes just scorching. The twin drums are settled in so nicely and everything is heard with the Hammond B-3 building slowly to a crescendo and then punctuating the soul groove.

The way the band and Berry jump out on Whipping Post is serious. Whether it’s my imagination or not it sure sounds up tempo to me. Berry is more than ready to bring it and it feels like he catches the band by surprise as he furiously launches into the opening… so great to hear and it’s a pace that doesn’t let up…. as the boys just go with it – oh my the little touches on the guitar twin attack. I have to stop myself right now or I’ll spend the next twenty minutes celebrating every note, turn, phrase, sound and riff just beautifully rendered together. I mean the tone of that band and tighter than tight. Gregg’s vocals are heard beautifully just right above the mix.

When they slow it down you can hear that B-3 just stalking the band the chords sustaining like wind through your hair. Their gentle segues arrive tear inducing as they reach for the heavens follow. If you don’t get a lump in your throat you don’t know how to listen to music.

Get Eat a Peach back out and it will seduce you with its magic so passionately. I’m so happy that it was captured in real time for all time just a blistering messianic journey to the soul of creation.

It’s mind boggling how a band can sound this excellent, the drive and the power, the determination. Music wasn’t a distraction it was a mission.

Stand Back I’m laser locked on that tune the way it jumps out and grabs you with that riff. The Allman Brothers knew what they were doing and the lyrics “a dagger in my back while she’s calling me honey” just fantastic. Look a lot has been written about the jazz influence on the ABB – granted – and it’s all good and true but don’t forget the funk. They can authentically bring that swing and swagger just funkin, funktastic. Funkified freaks every funkin where they funkin can the ABB throw that groove at a very righteous magnitude with Berry and Butch as far into the pocket with Gregg grinding the soul foundation and Jaimoe painting over the top.

“Hey have you seen my copy of Eat a Peach” wait I can hear it blaring upstairs in my sisters room. As I open the door Amy and her friends are moving to Les Brers as if their lives depended on it – “just don’t scratch it” as the door slams back in my face.

Stand Back – when listening to Eat a Peach and believe me it was almost impossible to get to as I had to pry The Fillmore Concerts out of my player – its beguiling to think, project where and what the band was going to do next had brother Duane decided to stick around for some more studio albums. His contribution to Les Bres alone would have taken that tune to another level and I say that absolutely loving that butt shaking tune that Berry just rumbles through.

Okay so maybe I’m stating the obvious but we really only get Blue Sky, Stand Back and Little Martha as studio cuts from Eat a Peach. It’s an immense rip off by the music gods. I know, I know they are a live band and Duane is more than well represented on the Eat a Peach Album I’m listening to the Deluxe Edition with the June 1971 closing of the Fillmore represented on the second disc. It’s a wonderful compilation with excellent liner notes, packaging and throwback labeling on the discs. But contrast Stand Back, Blue Sky and Little Martha for a moment and hold them in your mind. Each tune is in its own right a different genre. While Stand Back is the fuel injected brothers swaggering through their composition Blue Sky is its melodic counter point. Much like their playing these two songs back to back represent the branches of the tree that was the Allman Brothers. They are two tonal opposites yet together much like Dickey and Duane trading riffs. Of course Gregg is writing here and Dickey is writing there but what brings them together the playing of Duane is a very necessary bridge. Not to draw too fine a point on it but Duane was the glue that kept Dickey and Gregg together and without Duane they blew apart and it’s no one’s fault and their personal vision which they were more than entitled too and deserved were different but Duane was the Fulcrum through which their immense talents traveled.

Considering the emergence of the sound that Dickey was bringing forward (Blue Sky) and the swagger of the ABB (Stand Back) and then Little Martha is it really that far out to imagine an all-acoustic album considering Dickey’s Highway Call effort (which I freaking love) and Duane’s solo work with Sam Samudio as featured on the track Goin’ Upstairs? Would it have been so far out of the question that the Allman Brothers with Duane would have done a record sounding like Taj Mahal melded with their swagger? Considering all their influences that were revealed the above mentioned Highway Call and Gregg’s Low Country Blues would such a collective effort over time eclipsed or outfitted the Dawg Music genre with the power of the blues as opposed to just Django? It’s fascinating to imagine what that would have sounded like.

Much has been written and spoken about Duane and the Trane – John Coltrane and Miles – righteous brothers indeed and Tom Dowd’s jazz cat ways but what about the root of the tree of music as embodied by Little Martha? How much more of that would we have seen and heard (Pony Boy)? What would have Duane’s input done to Jessica and Southbound (songs I am passionate about)?

So here we are with Eat a Peach and we just have three studio cuts that are dynamic and all together different and just the greenest of shoots of the myriad of directions this band would have taken, could have taken, fanning off like a giant river oak.

The tree of music that remained and rebirthed time and time again was fortuitous and mighty in its own right and we are all the better for its perseverance, fortitude, drive and power but for a moment play the what if game and use Stand Back, Blue Sky and Little Martha as your jumping off points.

I’m a big fan of the ABB studio work as well, Gregg’s and Dickey’s solo efforts but imagine if it had all stayed together – just three studio cuts from Eat a Peach point the way.

Fillmore East is still tearing up my stereo system and its time for a huge shout out to Berry Oakley who anchored the front line. Duane called him out as the third guitar player. I have spent countless words trying to get at the melded mind set of their musical trajectory coursing through the time and space that confronted them and us and the atmosphere they rearranged with their sonic homage to the creative spirit and their righteous attack that brought such purity to their music but in the end its a futile task just put the music on and listen, listen, listen and listen some more.

I try with varying degrees of success to focus on just one player to really appreciate what they are bringing to the show but in the end I’m over taken and overwhelmed by the complexity and intricacy of the entire dynamic and simply blown away by it all voice, words, tone, tempo and magnitude. So hell yeah I’m still listening to Fillmore East (The Fillmore Concerts version Tom Dowd mix) and hell yeah I can’t stop….no surprise there though as well to all the brothers and sisters.

Still listening to the Fillmore Concerts 1992 mix by Tom Dowd – Whipping Post is just crazy – the first six minutes dissolve into an amalgamation of themes, trances, movements and refrains that eclipse the standard format of what a popular song is and evolve into art. The shifts that this live exploration of sound make are a kin to winding through a mountain pass so subtle and soft are their landings you may fail to notice every strand of grass or shift in rock formation but they are there.

In its whole its a creative work of genius and the gods but each note, arpeggio and sonic exploration has a purpose and melds from the righteous spirit that drove their creation in the first place.

Their work together on these recordings are true compositions rivaling the masters Bach, and Mozart. Call it jazz, call it rock n roll but it is so much more and beyond the “jam band” moniker its ridiculous. Get this music out listen to it again deeply and pay attention. If you think you know it because you listened to it repeatably years ago you will be surprised at the sophistication, the maturity, the musicianship and the touches and flourishes that permeate the main themes and arcs. It’s quite unbelievable what is going on here as the musicians work together and intertwine with each other.

Eat a Peach is on deck next on my musical sojourn back through their catalogue but its going to have to wait for a while more as I re-listen to disc two and circle back to the first disc – I really don’t see an end in sight and that in and of itself is a beautiful thing.

My oh my this is a great shot of the original sextet working the simultaneous groove. It looks like its Berry’s turn to break out notice where Butch’s eyes are watching on Berry’s hands.

I can’t over emphasis the beauty, power and velocity of talented musicians owning their musicianship fighting the urge of ego, working together and delivering the goods like no other.

A friend of mine asked me to differentiate between the grateful dead and the allman brothers after I laughed out loud (its a blotter vs mushrooms, roses vs peaches thing) I thought for a moment. Please know I’m a veteran of decades of both bands and I would simply state the ABB locked in more often, stronger and together. It’s degrees of variation but while the grateful dead was more of a cosmic soup sloshing around the bowl of existence lapping up side to side with solar flares of transcendence over heart aching ballads and thundering reverberation following Jerry religiously no matter what blind alley he lead them down, through or up the Allman Brothers Band in contrast jumped on that first note like a skim boarder ridding a wave as far as it would take them then turning and charging after the next wave of music and consciousness shredding the lip catching air, turning and pivoting with the waves. Tighter by necessity the ABB driven by a freight train of rhythm, organ and bass achieved thundering elevation immediately while the Dead meandered wobbly floating seemingly directionless then focusing sharply in an Escher like pattern getting there sooner or later but getting there they did.

I watched Pelicans dive for game yesterday afternoon striking their targets, diving in directly from over head in a straight line quickly and with acceleration hitting their targets repeatably over and over again – the visualization of screaming marshals and stalking thundering rhythm in a cascade of movement and righteous glorious splash reversing gravity throwing water in the air as they submerged and reemerged floating then taking flight again seemingly effortlessly sweeping through the air wings fully extended only to recoil and strike again. It was something to marvel at and behold and it looked like music to me and felt like something heavenly

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