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|The Allman Brothers Band: New York, NY|
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|Re: The Allman Brothers Band: New York, NY (Score: 1)|
by jchasin (firstname.lastname@example.org) on Mar 23, 2007 - 11:17 AM
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|In a Silent Way|
Don't Want You No More ->
Every Hungry Woman
Woman Across the River
Come & Go Blues
Good Morning Little School Girl
intro -> Done Somebody Wrong
No One Left to Run With -> killer jam
IMOER -> Jabuma -> bass -> IMOER
The band takes the stage, Oteil chimes, Derek joins in, a melancholy, jazzy bebop jam that is clearly an overture, swelling in the way “High Falls” does as an opener but with a vaguely Miles Davis feel… then, clearly, it is “In a Silent Way.” Derek plays lines that are evocative of the Beatles’ “Within You Without You.” A Jaimoe jaunt, an Oteil vamp, Derek spats out sparse lines, the band finds a bop groove, Derek doing his play-the-guitar-like-a-horn thing over the top, all peaceful and Zen bebop. Warren pushes the piece to an almost-“Birdland” space (Oteil observes between sets, “Zawinul wrote both songs.”) For those of us that pay attention, it is a sublime opening, but not surprisingly the magic is lost on much of the crowd.
The band pulls up out of “Silent Way” and hits a hard “Don’t Want You No More.” Gregg’s playing is crisp; Derek plays some slide, then Warren steps forward, then hard on the outro riff… except that the blues note that pierces through is not the one you expect; no, it is the introduction to “Desdemona.” That piercing intro note seems sour at first, playing against the expectation your ears have for “Not My Cross,” but then it seems just exactly right. Warren plays some groovy, wavy guitar on his solo, then amps up the urgency to 11 before segueing into the transitional lick. Ovation. Derek takes at least four breaths before entering, plays bendy, twisty notes against the melody, then finds his way to the edge of madness before a sweet pull-up back into the verse.
The front line is like a locomotive on “Every Hungry Woman.” Derek and Warren trade furious licks and rhythms; as one tosses off a lead, the other seamlessly picks up the rhythm chording. It is like they are juggling, slinging lead and rhythm back and forth at daredevil pace without missing a beat; it is musical acrobatics. Then they fall onto the harmony licks, the band tumbles head over heels with forward momentum to the close.
Derek’s early solo in “Woman Across the River” pushes against the blues from the sour side, some nice work. Then on the play-out, suddenly the guitars are like two runaway trains and you snap to attention… stinging playing… the band jerks forward, half-a-step ahead of the song in fiery off-kilter drunken glory… all around you, moneymakers are shaking… then bam! on the close. The final section pulls the tune into the stratosphere.
A nice “Come and Go Blues” is up next, followed by the dark and snaky “Good Morning Little Schoolgirl” (disclaimer: your humble correspondent is a total sucker for the ABB dipping into the Howlin’ Wolf song book.) Derek and Warren lay out a little fire and ice (you can guess which was which.) Warren skronks out a long bluesy bubbling solo that pulls you along like you’re water skiing in mud, then back into the vocals. As Derek takes his solo the band falls away; his lines are subtle comments. Then he drives the band hard into a frenetic waltz time, Oteil can’t be contained, the wheels are coming off—then snap! Back into the baby elephant time of the verse. Beautiful.
Gregg comes in early on the vocals for “Wasted Words,” then a strong performance. On the extended front line play-out, the fingers on Derek’s right hand are a blur. Out of “Wasted Words” the band plays an extended blues jam on one chord, Derek playing all easy breezy over the top, then it turns over into a hyper-jaunty “Done Somebody Wrong,” featuring strong vocals by Gregg. As lights come up, Oteil and Butch huddle behind the drum riser, and I hear Butch saying, “I think we’re on to something.” I don’t know what he
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