Orpheum Theatre Live at Fillmore Boston Globe
Allman Brothers Band brings Fillmore to the Orpheum
By Scott McLennan | Globe Correspondent December 02, 2011
Save Shortly before 10:30 p.m. on Tuesday at the Orpheum, the Allman Brothers Band only had two songs left to play: “In Memory of Elizabeth Reed’’ and “Whipping Post.’’ Nobody was going anywhere for the subsequent 45 minutes.
Announcing in advance that it would re-create the song sequence from the beloved “At Fillmore East’’ album, the Allman Brothers Band ran the risk of draining some of the anticipatory energy out of the opening night of a four-show stand in the Orpheum, which continues tonight and tomorrow night.
To its credit, the Allmans cast its classic work anew, particularly with the “Liz Reed’’ that soared and roared with intricate guitar interplay between Derek Trucks and Warren Haynes and a percussion blowout that brought bassist Oteil Burbridge into the battery alongside Jaimoe, Butch Trucks, and Marc Quiñones.
With “Fillmore East,’’ the Allmans vaulted into a realm of progressive blues that shaped its legacy. While the “Post’’ and “Reed’’ usually get all of the attention, Willie Cobbs’s “You Don’t Love Me’’ is the album’s overlooked mind-blower for the way original guitar god Duane Allman blended muscle and sophistication into the performance. Without aping Duane’s sound, Derek Trucks and Haynes tapped that exploratory and rootsy energy for their own long strides through the song.
Singer and keyboard player Gregg Allman had his best “Fillmore’’ moment during “Stormy Monday,’’ masterfully controlling the song’s slow-burn ache.
The “Fillmore’’ rendering comprised the entire second set. The band’s first set was no toss-off, though.
The boogie-to-teary combo of “Don’t Want You No More’’ and “It’s Not My Cross to Bear’’ opened the show in classic fashion. Though the Allmans played few shows this year as members focused on solo projects, the band sounded smoothly in synch.
A cover of Dr. John’s “I Walk on Guilded Splinters’’ became a platform for lofty guitar weaving that grew tougher as the band moved into “Rockin’ Horse’’ and “Every Hungry Woman.’’ For contrast, the band used Van Morrison’s “And It Stoned Me’’ for a quieter interlude.
The plaintive “Midnight Rider’’ and jaunty instrumental “Jessica’’ provided additional vintage flare in the first set.
Added: Friday, December 02, 2011