By the time The Gregg Allman Band was recorded on July 1, 1983, at Uncle Sam’s in Hull, MA, it had been ten years since the Allman Brothers had achieved their greatest commercial success with their Brothers And Sisters LP and its attendant smash single, “Ramblin’ Man.” In the interim, the seminal Southern rockers had broken up, reunited, and broken up yet again, but those sequences of events had only liberated their surviving namesake.
Consequently, this full-length concert performance (barely) contains a hearty sense of abandonment and the most practical qualities of well-practiced, professional musicians. It’s hardly surprising the nine-selection setlist is peppered with material familiar to the ABB’s repertoire. Still, Gregg and his seven-piece ensemble take special care not to attempt replication of the original arrangements.
To that end, early in the slightly hour-long concert, the group conjures up an intensity comparable to earlier takes fashioned by the Brothers (in various incarnations) on “Dreams” (one of the first songs of his own Gregg brought to the group). Likewise, while the inclusion of “Statesboro Blues” might seem a fait accompli for such a hungry crowd, this roiling, near seven-minute reading at the end of the show (not in its usual opening slot as with the legendary blues-rockers) is wisely retooled, sans its usual slide intro, without losing its potency.
Similarly, the opening acoustic performance of “Midnight Rider” may have never sounded so personal to its author. While Gregg’s vocal displays some ragged edges, the rough quality of his voice lends a decidedly personal edge to the performance. It’s also a testament to how exceptional material can accommodate a variety of arrangements.
Along those lines, guitarist Dan Toler’s picking and Donn Finney’s flute imbue this take with a novel gentility. In addition, the latter’s sibling on trumpet during the instrumental “Hot ‘Lanta” highlights how the septet can work up a head of steam without very extended improvisations, which the bandleader himself was not always enamored with.
Perhaps more to that point, however, is this rousing rendition of “Sweet Feelin’” from Allman’s 1977 Playing Up A Storm record. Toler’s high-strung electric solo is evidence that he came into his own after serving as second guitar to Dickey Betts during the ABB’s Enlightened Rogues era. At the same time, his younger brother Frankie on drums, along with percussionist Chaz Trippy, drive the septet (and no doubt the attendees) into near-frenzy.
That pair of rhythm devils, as aligned with bassist Gregg Voorhees and Bruce Waibel on rhythm guitar, also help bring a measured majesty to “Queen of Hearts,” even when the band shifts into double-time. On this sharp interpretation of a cull from Gregg’s 1973 solo debut, Laid Back, the musicianship is not the stuff of musicians merely going through the motions. Instead, it’s a vigorous incorporation of the R&B and soul influences the younger Allman sibling displayed on his best recordings (sans the later mainstream rock overtones of 1987’s “I’m No Angel”).
No wonder the late vocalist/keyboardist/songwriter engages in such terse but jolly repartee with the packed house in this tiny venue on the coast of the Commonwealth. Crowd-pleasing as are such setlist inclusions as “Trouble No More,” Allman and company imbue those signature songs with as much pride as passion. And on “Don’t Keep Me Wonderin’,” this tight alignment of sympathetic musicians captures the swagger at the heart of the tune evident from its first appearance as a somewhat unsung standout from the Allman Brothers sophomore studio effort Idlewild South.
Hearkening to the intimacy conjured up at the outset of this show, the bandleader’s muted reading of “Melissa” evokes Gregg’s deceased older brother in a most affectionate way too (it was a personal favorite of Duane’s). Sourced from the collection of long-time Allman Brothers griot (and skilled photographer) Kirk West, the detail in the sound of this unfortunately uncredited recording impresses no end. As mastered by Jason NeSmith and expert archivist Bill Levenon, the audio is superior to this cover’s somewhat amateurish graphic design (a minor cosmetic blemish).
Indeed, this piece of history titled Uncle Sam’s–designed to be the first issue in an ongoing series–augurs well for future such editions. Not only does it preserve for posterity the high standards Gregg Allman set for himself as a working musician and performer under his name, but it also lends credence to a perception that he was, in fact, the soul of the band to which he gave his surname.
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Thanks for naming the band members