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1) The Allman Brothers Band: “The 1971 Fillmore East Recordings,” six cds
2) John Coltrane, “Sideman,” three cds
3) The “Legendary Count Basie Orchestra” live at the Blue Note
Together with “Eat a Peach”—much of which was recorded at the same shows, The Allman Brothers Band's double album, “Live At Fillmore East,” has long been one a handful of iconic rock albums and no collection could be considered complete without it. Drawn from four shows on March 12-13, 1971, it so impressed Bill Graham that he decided that the band—which had sold next to no records at the time—would be the ones to close the hall, which they did months later, with a long set that began at 3:00 am.
In the past, if you wanted to collect more than just the above—the performances that were played that weekend but not recorded, you would have found them scattered among the following:
Duane Allman Anthology, Volume 1, Polydor, 1972/1986
Duane Allman Anthology, Volume 2, Polydor, 1974/1987
Dreams, Polydor, 1989
The Fillmore Concerts, Polydor, 1992
The Allman Brothers Band: (Deluxe Edition), Mercury, 2003
Eat a Peach (Deluxe Edition), Mercury, 2006
Skydog: The Duane Allman Retrospective, Rounder, 2013
I actually did all that, but most sane people did not. Now, for the rest of you there is a lovely boxed six-cd version The 1971 Fillmore East Recordings which contains fifteen versions of the these songs—including the very first show of the weekend–that you would not have even if you did all of the above. The credits are cleaned up too, so now we know that we are listening to Rudolph ‘Juicy” Carter on saxophone and Bobby Caldwell on percussion on “In Memory of Elizabeth Reed.” The set lists do not change much. But the playing sure does overseen by executive producer Bill Levenson, who was responsible for the Dreams box which got the band restarted on its current-about-to-end journey, it comes with an essay by band historian John Lynskey. Tom Dowd’s original mixes have been redone but not so much that you would notice—even if like me—you’ve been listening to the SACD for the past few years. People who do not appreciate the band, including those with whom I happen to live with, may mock you for wanting so many versions of “Statesboro” and “You Don’t Love Me.” (I could actually use a few more of “One Way Out.” But you must ignore them. Music has rarely been played better than this and history demands that we respect it, as this terrific box set does.)
Less ambitious but still most definitely of note this week is the release of “Sideman: Trane's Blue Note Sessions,” which is a three cd collection of Coltrane’s sessions for Blue Note Records from 1956-1957. He was member of the Miles Davis Quintet and also regularly played with Thelonious Monk at the time and combined self-discipline and creativity in a fashion that few have before or since. This set, conceived by former Blue Note Records president Bruce Lundvall, collects Trane’s work-for-hire sessions for Blue Note in one place for the first time. The albums in question are given over to Paul Chambers (Chambers' Music, a.k.a. High Step, and Whims of Chambers), Johnny Griffin (A Blowing Session) and Sonny Clark (Sonny's Crib). It’s all in mono, and this will be the first time you can find the Clark cd so mixed. The book-style package –which will fit in your cd case, includes a 34-page booklet with an essay by Ashley Kahn.