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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.)