Beacon Theater, March 14, 2009. What is nice is you can get this show through the Instant Live/MunckMusic thang. Here is a review from Amazon:

The first set alone was like a show in itself, spotlighting the new jams that have made “Rockin’ Horse” and “Revival” into entirely new creations. Check out Gregg’s vocals on the poignant “Ain’t Wastin’ Time No More” and a smoky, bluesy “Gambler’s Roll.” He has never sounded better!

A mammoth 15 minute “Woman Across The River” is undoubtedly the best the band has ever played, and when jazz legends Randy Brecker and Lenny White join the band for “Dreams,” the result is some of the most sublime jamming humans have ever witnessed. And that is just the first set!

The second set kicks off with a tender, sensitive version of “Melissa,” with Gregg on acoustic guitar and singing from deep in his soul. Then the band swung to the other end of the spectrum, going from soft acoustic to raging electric and inviting pedal steel wizard Robert Randolph on stage for ferocious runs through “Turn On Your Lovelight” and “One Way Out.”

Brecker rejoined the band for the quiet intensity of Miles Davis’ “In A Silent Way,” which mesmerized the crowd. Lenny White and bass icon Stanley Clarke joined in for an “In Memory of Elizabeth Reed” that spanned the divide between the ABB and the jazz icons that inspired them, making for a unique jam, including a bass duel between Oteil and Clarke that you’ll have to hear to believe!

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So that is pretty serious. I saw an ABB Beacon show that Ravi Coltrane, John Coltrane's son, played at; I'd have to Google the date.

I think Google is your pal here. Sax player Bill Evans played with the ABB many times, not to be confused with the jazz keyboardist Bill Evans.

Good for you for expanding your education. Sounds like your prof is out of his depth - no music theory prof should be teaching what is essentially musicology at a reputable school like UM & true musicologists would very much be aware of jazz musicians performing w/famous long-standing bands like the 45-year old ABB.

If he's really interested, HE should be doing this research or asking you to do it for credit. It would be a fascinating paper. I think the ABB is long past needing to look cool to anyone.

Said by someone who spent 3 years in academia at an Ivy & ran straight into corporate America because of lazy colleagues w/no intellectual curiosity beyond a paycheck & zero interest in their students so I'm biased.

[Edited on 11/29/2018 by cyclone88]

Here are a few other legendary names who have sat in with The Brother's
Chico Hamilton- Drums
John Schofield- Guitar
Roy Haynes- Drums
Easiest way for the Michigan Professor to get a taste for The Brother's Jazz sensibilities is to listen to :
The Complete Fillmore Recordings
Duane Allman Anthology -1 and 2
The complete 2009 Beacon Run
All the professor needs is a free weekend . A visit to NYC to catch Jaimoe's monthly set at the Iridium would be helpful too.

Branford Marsalis.

Didnt Miles drummer from "Kind of Blue" sit in?

Correct! Jimmy Cobb sat in on Can't Lose What You Never Had and Desdemona on 21 March 2005.

You guys are awesome!! After I posted that I realized I could go through the 2009 Beacon shows and get many names myself. But I did not know Branford Marsalis, Jimmy Cobb or Roy Haynes had played with them, so cool. Thank you and keep it coming

Also Duane's work with Herbie Mann. Derek has also done studio work with McCoy Tyner and Herbie Hancock.

If your music teacher hasn't heard the ABB, he has probably not heard Derek Trucks tackling such jazz songs as "Bach to Bach," "Afro Blue," or "My Favorite Things." I think you need to hip him to that stuff.

Meant to be elsewhere.

[Edited on 11/30/2018 by cyclone88]

Ron Holloway was in Dizzy Gillespie’s band at one time.
James Blood Ulmer
Oz Noy on the contemporary jazz rock front.
Robben Ford was in Miles Davis’ band.
Dick Griffin play with Rahsaan Roland Kirk and McCoy Tyler

Derek was featured on the Mcoy Tyner album Guitars. He was also on one of the Jazz is DeD albums

Get your instructor a copy of The Derek Trucks Band's "Soul Serenade". He will be in shock that a member of The Allman Brothers made this record. It's straight ahead jazz all the way through.

Good for you for expanding your education. Sounds like your prof is out of his depth

[Edited on 11/29/2018 by cyclone88]

Some professors are just in a bubble!
My daughter had a course at university very recently. On rock n’ roll, and how it influenced youth culture and society. The professor (if you could call her that) did not touch on anything before the Beatles Sgt Pepper. Can you believe that? She said the prof seemed to think Nirvana was a major influence on youth and society. Nirvana for C#*!$t sake!!! Now I’m not going to sit here a slag Nirvana, but really what about Elvis, Berry, Lewis? I mean I could go on and on but I am at work. She was not at all impressed with that class or prof and wrote so in the review.
Anyway on another note
The post by JimSheridan made me pull out the credit card and buy Beacon March 14 2009 from MUNCK MUSIC. Can’t wait for it to arrive

Good for you for expanding your education. Sounds like your prof is out of his depth

[Edited on 11/29/2018 by cyclone88]

Some professors are just in a bubble!
My daughter had a course at university very recently. On rock n’ roll, and how it influenced youth culture and society. The professor (if you could call her that) did not touch on anything before the Beatles Sgt Pepper. Can you believe that? She said the prof seemed to think Nirvana was a major influence on youth and society. Nirvana for C#*!$t sake!!! Now I’m not going to sit here a slag Nirvana, but really what about Elvis, Berry, Lewis? I mean I could go on and on but I am at work. She was not at all impressed with that class or prof and wrote so in the review.

Profs shouldn't get away w/being in a bubble. Your daughter's prof clearly hadn't studied the Beatles themselves who gave credit to Elvis, Berry, et al as driving influences. Drewbie's PhD prof should know that collaboration is the heart of jazz & should know who is sitting in/recording w/who. Never heard of the ABB? Shame on him.

To be fair to professors, they are encouraged to specialize in their studies, and with each year PhD topics get more and more narrow. It doesn't surprise me that someone who specializes in jazz doesn't regularly cross paths with the Allman Brothers just because the band has one foot in jazz and a few sit-ins that only uber fans like us can cite. Generally speaking, by contrast how many Allman Brothers fans thoroughly know decades of jazz musicians?

Also, this would never happen at the University of Wisconsin. Go Badgers 😉

Generally speaking, by contrast how many Allman Brothers fans thoroughly know decades of jazz musicians?

Excellent point!

You should also point him to the Robert Palmer's liner note essay in the re-release of Kind of Blue that discusses the Allman Brothers and Duane extensively:

https://www.cannonball-adderley.com/miles/miles07.htm

"Playing gigs at the Fillmore East during the sixties made it easier for you to get in and catch other bands, even if tickets were sold out. As a young saxophonist in a rock band, I played there several times and attended numerous concerts; the one group I never missed (unless I had to be on the road) was the Allman Brothers Band. More specifically, I went to see their guitarist, Duane Allman, the only "rock" guitarist I had heard up to that point who could solo on a one-chord vamp for as long as half an hour or more, and not only avoid boring you but keep you absolutely riveted. Duane was a rare melodist and a dedicated student of music who was never evasive about the sources of his inspiration. "You know," he told me one night after soaring for hours on wings of lyrical song, "that kind of playing comes from Miles and Coltrane, and particularly Kind Of Blue. I've listened to that album so many times that for the past couple of years, I haven't hardly listened to anything else."

Earlier, I'd met Duane and his brother Gregg when they had a teenage band called the Hourglass. One day I'd played Duane a copy of Coltrane's Olé, an album recorded a little more than a year after Kind Of Blue but still heavily indebted to it. He was evidently fascinated; but a mere three or four years later, at the Fillmore, I heard a musician who'd grown in ways I never could have imagined. It's rare to see a musician grow that spectacularly, that fast; I'm not sure there's any guitarist who's come along since Duane's early death on the highway who has been able to sustain improvisation of such lyric beauty and epic expanse. But the influence of Kind Of Blue, even to the point of becoming a kind of obsession, wasn't unusual at all; it was highly characteristic of musicians of our generation, mine and Duane's. Of course, listening to an album isn't going to turn anyone into a genius; you can't get more out of the experience than you're capable of bringing to it. Duane brought something special, even unique to the table, but it seemed that everyone was sharing the meal."