The Allman Brothers at Fillmore East [LIVE] [ORIGINAL RECORDING REMASTERED]

The songs on this CD, only seven, were originally in an album released as a double LP. Two of the tracks were long enough to each take up an entire LP side. Gregg Allman on keyboards, Dickie Betts on guitar, Berry Oakley on bass, Butch Trucks and Jaimoe Jai Johanny on percussion, do they ever jam and solo. And a man named Duane Allman, on guitar. I sometimes wonder if you sat down 1,000 people who had never heard this CD, played it for them, and asked them afterward whether they think Duane was a mere mortal, would any vote yes? Actually, my case is more rudimentary. I need only listen to "In Memory Of Elizabeth Reed." I hold my breath when Gregg's shimmering organ following "Hot 'Lanta" introduces this incredible performance by Duane and the rest. When I mention my favorite Allman Brothers "song," I speak in terms of studio, saying "Jessica"--it is a wonderful instrumental, with good soloing, but within a basic structure. But this live version of "In Memory Of Elizabeth Reed" is a step beyond, into free-flowing improvisation that confounds one's sense of the limitations of what can be achieved in music. Can anything be described as less limited in comparison to this display of sheer instrumental genius?

This brilliant live album has had its praises sung for it over and over, but great albums can still be uneven, at least to a certain extent. In "Live at Fillmore East," there is only excellent and better, from the opening slides of Duane's guitar on "Statesboro Blues" to the tired breaths uttering "I'm dying" at the end of "Whipping Post." The latter and the other extended number, "You Don't Love Me," contain terrific long jams that slow down in tempo in their later parts and shift some gears, with even a little hamming. I enjoy a couple of really cool chugging guitar sections in the latter part of "You Don't Love Me." However, "Whipping Post" is superior--it is more absolutely breathtaking guitar work, by Duane and Dickie Betts. "Hot 'Lanta" has a great steady-driving motif providing a good base for fiery soling, and is also brilliant. "Storm Monday" is a slower, atmospheric number. Beginning with Gregg's glowing organ, this song radiates a gorgeous texture featuring organ glides and Betts' sweet guitar licks.

Duane had more successes before his unfortunate early death, including his masterful work on Layla in partnership with Eric Clapton. But this will always be his finest moment, as well as that of this legendary Southern Rock group. Did I say Southern Rock, which I generally do not care for? It is always emphasized that to a certain extent, the music here can be described as jazz and blues. Right, but I acknowledge its Southern Rock origins and feel as well. But who cares what you call it, just listen and enjoy the best display of musicianship ever to grace the world of rock music.

Talk about exceeding expectations! And having a life-altering experience! Let's just say that my dreams of being a guitar god or being part of a extraordinary team of players is pretty much out the window. These guys put those to rest. Their gifts are pure, natural, and out of this world. But I thank them for giving me this.

I can't say anything more than what's been said. It's absolutely brilliant, breathtaking, and entrancing for its full 1 hour, 18 minutes, and 36 seconds. It is the most amazing blend of rock, blues, and jazz I've ever heard. The musicianship here is probably unparalleled in the history of rock music. And these guys played with the improvisational genius and intensity of our greatest of jazzmen. IT'S THAT GOOD.

When kids today talk about "trance" music, they talk about dance music. I tell them that this kind of stuff is my trance music. I just put this gem on and I'm out of this world for 1 hour, 18 minutes, and 36 seconds.

You cannot have a rock collection and be without this. You just cannot. It would be like having a jazz collection without any Miles Davis.

While fellow reviewers are correct in spotlighting the guitarists' (Duane Allman and Dicky Betts)artfulness and composure during these blazing, 20- to 40-minute cuts, and Gregg's wonderful vocals and organ undercurrents, the album contains absolutely bracing jams throughout the collection with the group as a whole. Each time I single out one cut as a favorite, subtle and timely flavors from an unexpected piece come suddenly through. The mood is always steady, purposeful and synchronized, and the listener --every time he or she returns to the double album set--is ready to go, and eagerly in it for the long-haul.

There is more to say about the bass and drum work of Jai Johnny Johannsen, Butch Trucks and Berry Oakley--basically they were the tightest rock and blues band I've ever heard, bar none, and they were physically able to keep up with the amazing rigors of Duane's sets--no small task.

The listener will hear, for instance, at the conclusion of the classic "Whipping Post"--ending after approximately 20 minutes (a full side!) of intense, all-out and spirited work by all members of the band--the sudden but expected lash of praise from the audience...and then just ONE BEAT later, just prior to 'fade out', we hear a very telling and wonderful pick on the master tape, a delightfully soft and warm riff from Duane's guitar, leading the band off and running into another jam. Amazingly, THAT little clip is the beginning of a much longer piece ( "Mountain Jam", his rendition of Donovan's hit), cut from the same live master, not released on this set, but later included on EAT A PEACH. This jam runs TWO sides on that release...sometimes I wonder if "Whipping Post" was more an allegory of exhausted band-members jamming to Duane on a roll than anything deeper or more introspective!

One terrific production effort by Tom Dowd (later a big cat at Atlantic Records) tops it off, making a wonderful series of nights at the old Fillmore East theatre more than a group of very memorable shows. These recordings are THE best live covers by any band before or since. They embrace and capture every nuance of the performances : the love of the musicians for their art, the spiritual ease with which they related and communicated with one another on stage, and the natural exuberance of the sell-out crowds, who were so appreciative to be in the building.

And I appreciate owning this album again. It is nothing short of a masterwork to me, with absolutely no short-comings, and has been a great companion throughout my life.