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| Allman Brothers Band: Wantagh Long Island, NY | | [ Previous | Next ] [ Add Recording | Request Recording ] |
| Comments and Reviews for this Event | Log-in or register a new user account | 4 Comments |
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Review (Score: 1)
by jchasin (jchasin@nyc.rr.com) on Aug 26, 2004 - 06:19 PM
(User information | Send a message) http:// | Backstage at Jones Beach Theater. The sun is descending behind the horizon. A solitary figure, Warren Haynes, emerges from the shadows, guitar slung low across his back. A hush falls over the place; the only sound his boots on the concrete. Women and children peer cautiously out of windows. Men look away. A lone ball of tumbleweed blows across his dusty path. Behind him, his six amigos—
OK, I’m kidding. But it struck me about sixty percent into Tuesday’s show that the Allman Brothers are like the Magnificent Seven. They ride into your town, an all-star team of desperadoes, each expert on his weapon of choice. They chase away your blues and ride on, asking nothing but that bluesy justice be served. Served of course, with several heaping side orders to boot—jazz, rock, and soul.
The three drummers lay down the percussive bed that heralds “Walk On Gilded Splinters.” Then the guitars join in and the band is off. Most of the crowd is unfamiliar with the song. There are harmony guitar riffs, then harmony vocals. Soon the guitarists are trading wicked licks, bringing the classic Allman Brothers sound, with intensity, to this relatively new vehicle. Derek and Warren drive the song to the final verse with simultaneous pleading lines. For the faithful, it is a solid opening; for the house at large, maybe a puzzler. But still, a strong statement of purpose—here we are, here’s what we do. Any questions?
Then immediately into a brisk, powerful “Trouble No More,” with Derek answering Gregg’s strong vocals with staccato responses. Warren and Derek briefly trade lines on the brief mid-section, and Derek sizzles on the song’s dash to the finish. By “Aint Wastin’ Time No More” the band has won over the crowd, with Derek again punctuating Gregg’s vocals in telepathic interplay, and playing stinging, ringing leads over the break-- soaring above the fray like an indifferent angel. On the outro Warren takes the reigns, pouring the evening’s sweet summer breeze out through his graceful and understated solo, then kicking it up a notch as he climbs up the fret board to that ringing gutbucket place.
Next up is “Woman Across the River.” Warren’s bluesy solo licks between the verses are right in the pocket; Gregg layers on some tasty organ before Warren goes back into the vocal. Then Derek lays into a solo that is pure cool—so “cool,” in fact, that his strings are smoldering. As Derek lets loose Warren raises his right arm, a finger aloft, to indicate time to return to earth. The band follows his lead, then Warren snarls out the final verse, and the outro is again a highlight. The band continues to sneak in some of its best playing after the songs are ostensibly over. The guitars trade blistering lines, falling into and out of harmony riffing, the rhythm section locked in, the entire band hurtling forward until finally Warren hits the closing riff and the runaway train screeches to a halt. Bam!
Funky guitar chording lays the groundwork for what will soon be “You Don’t Love Me,” Derek beginning the vamp as Warren changes axes. Here the action is before the song starts, as the band explores the pre-song riff, Gregg offering up some organ. As is always the case, the drums are locked on, providing a solid bedrock foundation. Finally, almost three minutes in, the twin riff that should kick off the song—only it doesn’t immediately, there is some more vamping, before finally Gregg and the guitars lock onto the proper melody and Gregg begins the vocals. Both guitar players shine, Warren playing some searing slide lines.
Next up is a crowd-pleasing but somewhat rote “Midnight Rider.” Then a jaunty take on “Standback.” From my vantage point (close enough, nicely centered) the sound and the mix is perfect. The drummers are percolating, Oteil is slapping and snapping this one forward, his bouncy funky bass line serving almost as the lead i
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