Allman Brothers band

Special for papan:


In the February issue, Downbeat Magazine bring to us a very good interview with a couple of very talented modern blues artist.. enjoy the interview and don't forget to bought your copy...
DOWNBEAT MAGAZINE


Guitar slingers DEREK TRUCKS and SUSAN TEDESCHI Take Their Musical Caravan on the Road....

Derek, bassist Todd Smallie and drummer Yonrico Scott have been with you more than 10 years. Kofi Burbridge came in on flute and keyboards in 1999, percussionist Count M'Butu about the same time and singer Mike Mattison in 2002. You've recorded four albums and played countless gigs. There are so many stylistic elements in your band's music. How has the group evolved?
TRUCKS: It's blues, folk and soul-based. World soul. When we went in the studio his time to record Songlines (Columbia), it was the first time we went in as a band and every idea came out seamless. Everyone felt comfortable. It didn't feel like we had to force anything. As far as everyone in the band feeling comfortable with each other and trusting each other musically, it's evolving.

And you Susan ?
TEDESCHI: My band is evolving because I've had a few different players. The keyboard player has been with me the longest, about six years. I have a bass player who would have been with me about the same amount of time, but, just recently, traveling outside of the country, he ddn't have a passport, so I had to get a new player. So right now...
TRUCKS: ... we keep a lot of felons in our bands. My band can't go to Canada. We have a hard time traveling. But they let us into Poland. (laughs)
TEDESCHI: You know, felons are the most soulful!

Susan, your background is in gospel and blues, yet Hope And Desire emphasizes soul music.
TEDESCHI: Our last record was mostly soul-based mixed with songwriters like Iris DeMent and Bob Dylan, with a soul or blues twist on it. My band is roots based: blues and jazz. Some of the guys are more jazz players but I'm not. I don't have that facility.
TRUCKS: The grass is always greener. We all want to sing like you.
TEDESCHI: I want to play guitar like you!

As the nephew of Allman Brothers drummer BUTCH TRUCKS, you grew up hearing Duane Allman's slide guitar on records. I know you're a big fan of ELMORE JAMES, but have you found your own voice on guitar ??
TRUCKS: You're always, searching for it. It's rare that I have a night where I'm, "Yeah, I've Got It!" Even a night where it feels good, there's always stuff -- whether it's the sound of the instruments or something that doesn't go down the way you want it to. You're always trying to tweak it. But as you go down the road, you can every once in a while listen back to a recording and go, "That was acceptable." (laughs) It doesn't force me to run to the dial and turn it off like I used to.

How about you, Susan ?
TEDESCHI: It's definitely mine, my guitar voice. I don't know if that's good or not. It's evolving. I've recently noticed that it's more affected by listening to Derek, especially with him playing with ERIC CLAPTON and DOYLE (BRAMHALL III). Of course, I aspire to be like Derek because he can play everything. I would love to have my guitar be a full extension of what I could do vocally.
TRUCKS: The beuty of Susan's guitar playing is no matter how much you practice you're not going to copy that. She starts playing a solo and it could completely implode or explode. You don't know what's going to happen. The tension and the release is what a lot of schooled musicians lose. There's no tightrope. A lot of times when she jumps into a solo you're like, "Its gonna..?" Then she makes it. When I hear HUBERT SUMLIN, ALBERT KING or any of those guys, it's the same thing. They're standing on the edge of the cliff at all times.

Derek, there's a real sense of adventure in your playing that keeps the music fresh.
TRUCKS: I've been listening to a lot of Indian classical music, Pakistani Qawwali music, digging into that, as well as spending months listening to all the great JOHN COLTRANE quartet recordings and the great Blue Note records. On the road that's what this band listened to forever. WAYNE SHORTER, JACKIE McLEAN, CLIFFORD BROWN, LEE MORGAN. But the Coltrane quartet had the spirit I thought this band should strive for. Every time you hear them play a tune, they might state the melody the same, but then it's off to the races. It's freedom and an adventure. There's a great moment on Coltrane Live at Birdland, on "Afro Blue", when you feel the room lift. It's church. The band bridged that gap between jazz and religion or devotional music.

You both phrase like singers and horn players.
TRUCKS: There was a long time when I avoided listening to any guitar players. It was all horn players and all vocalists -- DONNY HATHAWAY, STEVIE WONDER, ARETHA FRANKLIN, MAHALIA JACKSON, OTIS REDDING and tenors, altos and trumpets. It's great, especially at about 14 or 15 years old, you get this music addiction and you buy one record, you read the liner notes, and somebody else's name is in there, so I got to figure out who is this guy and you go buy all of his records. You get on that train and it leads you to all the great GIL EVANS records and it never stops. Still to this day, I go into a record store and I have to make sure I only bring "X" amount of dollars because I'll walk out with a backpack full.
TEDESCHI: It's funny because Derek was mentioning all his vocalist influences and a lot are the same as mine -- Donny and Mahalia, for sure. I was raised in a small suburb of Boston where I never had the opportunity to sing with a lot of amazing singers. But at Berklee I auditioned for the gospel choir. I sang with two of Donny's girls. It was wild and opened my eyes to music was out there. They took me in and made me feel welcome. I knew at that point music wasn't about color, it was about the universal love of music and trying to communicate at a certain level. When I was in college, gospel was the closest thing I could find to what I was searching for.

Susan, it was Berklee that you dug deep into blues ??
TEDESCHI: One day I heard a MAGIC SAM record. Like Derek said, you find out about a player and who else played on record. This guy played with WILLIE DIXON and Willie played with MUDDY WATERS and then it was BUDDY GUY and FREDDIE KING and OTIS RUSH. I always thought there were just British Rock guys and the I discovered all these guys who influenced them. (laughs)
TRUCKS: Somebody was lying to me all along! (laughs)
TEDESCHI: They were lying to me, too. People like Aretha, Etta James and Irma Thomas, Gladys Knight, something about their tone. Those women all have a similar warm belt that I fell in love with. It was about the roundness in the tone, the soul, someone like Otis or Donny could encompass such a warm soulful sound and it's so big. Mahalia Jackson didn't need a microphone. She could sing in front of a huge thater. Big Mama Thornton would be an influence, too, and KOKO TAYLOR.

Derek, what's your role in Clapton's band ??
TRUCKS: There's a lot more lead time than I was expecting, probably at least 60 percent of the tunes I'm getting a chance to wail on. I was ready to just be a part of it and take any role he saw fit, but he's generous. We're playing a lot of DEREK & the DOMINOS stuff, a lot of older blues stuff in a sit-down set like "San Francisco Blues" and "Key to the Highway".

And you play on the upcoming McCOY TYNER album, right ??
TRUCKS: Yeah, two tracks, with McCoy, Ron Carter and Jack DeJohnette. I had met McCoy a few months before recording. The gentleman who runs the Blue Note in New York, (Steve Bensusan), has been supportive of my group and he had us play the Blue Note and when the The New York Times did a piece on me and Susan he let us come in and do the photographs and the interview there. He mentioned that McCoy was doing a record witha few guitar players as guests and asked me if I'd be interested. Obviously, yes!
We hadn't talk about any tunes. We were doing it by the seat of our pants. I had suggested a tune that McCoy had played and written on his record Today and Tomorrow called "Flapstick Blues". We did that and we did a version of "Greensleeves". We tracked each one once. McCoy's such a gracious guy. He remind me a lot of HUBERT SUMLIN, wha was HOWLIN WOLF'S guitar player. He's just got that spirit, with McCoy being such a badass on top of it. He's impressive.

Tell me about your involvement with Elvin Jones.
TRUCKS: We were supposed to record with him. When I signed with Columbia, they asked me if I wanted to record with anyone, and I was like, "Elvin and Wayne Shorter!" They called Elvin and he was into it, so we met him a few times and hung out and talked about the session and had dates posted and that's when he got sick and passed. It wasn't meant to be.

So the song "Elvin" on your Soul Serenade album was for him ??
TRUCKS: Yeah. My younger brother, Duane Trucks, is a drummer and a few years back he was getting into (Jack) DeJohnette and was on this Elvin Jones kick. So for Christmas I was going online looking up Elvin Jones. I was going to find him a T-shirt. I saw on eBay that Elvin's wife, Keiko, was selling Elvin's timpani that he played on A Love Supreme and Meditations. It was nine days into a 10-day auction and nobody had bid on it, so I threw in this bid and a week later I get these two road cases at my house that say Elvin Jones Jazz Machine on all five panels -- these timpani from the 60's. I felt guilty. I talked to Elvin's wife and passed along if you ever need them for a museum or if you ever want them back, they're fair game. I want to record with them once.

You start off Songlines with Rahsaan Roland Kirk's "Volunteered Slavery".
TRUCKS: I've always been a Rahsaan fan. The feel of that track, the simplicity of the melody and the lyrical content: It's a great theme. Since we've recorded, I learned that his widow, Dorthaan, works at WBGO radio in New Jersey. We did an interview there, she came in and it was so great. She was excited that a young group was doing a Rahsaan tune. Rahsaan is one of th unsung heroes. There are thousands of them. He was one of those guys that was inside the scene on one level but he was completely outside of it on another.

Any chance your band will have horns ??
TRUCKS: I can see that. We did our New Year's Eve show last year and we had a horn section. It was nice having that up there. At this point but it's a matter of commerce.
TEDESCHI: I have a tenor player in my band, Ron Holloway. It's a breath of fresh air having him because he's an amazing soloist, and he can blend into any situation. I have grown so fond of jazz through Derek. He's educated me more than Berklee because they give you that option: rock or jazz. I wasn't educated enough to think, "I should learn jazz." But Derek's opened my whole world.

For years, you've been tagged a "bluesman". Is this still a good fit ??
TRUCKS: It's tough when you're talking about jazz or blues or any of these labels that were put on a music that spontaneously erupted in a certain time or place. You have the blues, and obviously have the Delta scene, the Chicago thing, but after that it seems like people photocopy something that was great or something that happened. Those guys were revolutionaries, the stuff SON HOUSE and those guys were playing when they electrified it, when MUDDY WATERS went to Chicago. Those guys weren't playing music that had just been done forever. They were changing it up. You have to remain in the spirit of that, you have to dig into it. It's not about what amp they were using, what guitar, what chord progression they were playing. It's the same with jazz. The beauty of guys like Ornette Coleman and Trane is that they were always searching and moving and ripping down boundaries, crashing walls.

You're part of the legacy ??
TRUCKS: That's part of the deal. You see who set the bar the highest and you try to see if you can get there and maybe lift it in some way. Obviously, there are certain guys who set it so high you're going to have to find a different bar to climb to. (laughs)
TEDESCHI: I feel lucky to have been turned on by it, inspired by it. I try hard not to copy. I try to play blues and be inspired by the passion of it. If I can move somebody, I try to say this is who inspired me and why.
TRUCKS: Wether it's jazz, blues or any other form of music for that matter, the reason it was so powerful is that life is part of the sound, the Coltrane band in the mid and late '60s all the shit going on in the world, where they were living, the color of their skin. It's the same with the blues. No way someone coming from a suburb of Boston or a suburb of Jacksonville -- where I'm from -- there's no way you're going to play like SON HOUSE.

Where's blues today ?? Stagnant ?? Thriving ??
TRUCKS: On one level it's inevitable with anything that it's going to have its glory days but it's not going to disappear. It's too powerful and has influenced too many things. There are guys like COREY HARRIS, who dig into it and get to the heart of it, and he's not worried about doing this one thing and making it. He plays blues and then it incorporates African elements. I love that about him, this guy's doing it.

As more of a hybrid form ?? Like your group ??
TRUCKS: It'll be a hybrid. The Chicago scene will never be the same. The Delta, the conditions don't exist. It's alive and well in what we're doing, without a doubt. There's no way at this point I could remove that stuff from what we do.

2SergeK:

>Special for papan:

Спасибо!
Кто бы ещё перевёл...:-)

2papan:
>Кто бы ещё перевёл...:-)
Только не его!

Ладно,сам справлюсь.Хоть и не люблю читать на иностраных языках.

Кто - нибудь брал себе де - люксы At Fillmore East и at a Peach? Как они звучат? Есть - ли какой - нибудь интерес в бонус дисках?

Вот мнение двух любителей музыки... (почти полностью совпадает с моим)
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OK - After seeing 7 shows so far on this tour, I'm going to stick my neck out and prepare to be flamed.

** I think Derek Trucks is WAY, WAY over-rated.***

Now I've done it. I've committed heresy and departed from the groupthink, but I'm really looking forward to my 8th show at Sacramento tonight, without DT in the band.

I had the pleasure of hearing Duane Allman live many, many times - at the Fillmore West, at Winterland, and elsewhere. From that experience, and from repeated listening to Allman Brothers live shows (official and unofficial) I am convinced that there is absolutely NO COMPARISON between Duane Allman and Derek Trucks. Duane had a much "fatter" tone, and played with much more drive and "bite." Derek often has a very light tone (described by some, not unfairly, as "screeching") and seems to skim over the surface of the music without really digging in. There is really no similarity in their tone or style, and if it were not for the family connection I doubt that anyone would see a resemblance.

Obviously EC, who should know, sees something in DT, so on that basis I'm willing to acknowledge that Trucks is a fine player, even if the comparisons to Allman are over the top. But even so, it will be a relief and a pleasure for me to hear more of EC tonight and even more of Doyle - who was really channeling Albert King in LA and Anaheim in some very fine solos.

Richard

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Hi all, and especially Richard!

I couldn't agree more. When I go to a EC-concert I want to hear Erics fat, warm tone. During this tour I have heard enough of Trucks cat-screeming slide. When you play with Eric, you should stay in the back and glow like Billy on organ, Doyle on guitar or Chris on the piano.

Derek is a good guitarist. But I agree with Richard, he's not even half as good as mr allmann was. The way Derek plays Anyday is embarrassing. I was thrilled to see Anyday on the setlist during the start european tour, and sad that I didn't get it in any of the four shows I saw. But when I heard the boot of anyday, I didn't bother anymore...

I look forward to see the setlist from the upcomming shows, and hear boots. Now the tour is starting, and I hope Eric will come back to Europe without Mr. Trucks some time soon.
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Вчера был в "БЕКОНЕ", одним словом - КРУТО!!!
Уоррен в дуете с Дереком, это сила!!! Вставляет не по детски!

The Allman Brothers Band
19/11/2007

Recorded at Woodstock II, August 14th, 1994 and the National Video Center, New York, November 19th, 1990.

The band features two drummers (a common element in the Allman Brothers' history) plus a percussionist. Brilliant masters of the dual lead guitar, Dickey Betts and Warren Hayes contribute to the typical band sound forged by leader Gregg Allman. Along with his soul-drenched vocals and his Booker T. Jones-influenced Hammond play, their trademark blues rock arrangements leave no doubt that the Allman Brothers are the true originators of Southern rock.

Plans develop for Allman Brothers Band museum
http://www.macon.com/198/story/217678.html
http://www.thebighousemuseum.org/

Посмотрел немного давеча "Ночь в музее".Там был забавный эпизод,когда герой Бена Стиллера мирит солдатиков из гражданской войны:"Север победит,с этим ничего не поделаешь. Но и у Юга будут свои приятные моменты-например Братья Оллманы".

2papan:
>Но и у Юга будут свои приятные моменты-например Братья Оллманы".

Я тоже обратил внимание

Playlist Plus [ORIGINAL RECORDING REMASTERED]
Audio CD (April 29, 2008)

Disc 1
1. Don't Want You No More
2. It's Not My Cross To Bear
3. Black Hearted Woman
4. Trouble No More
5. Every Hungry Woman
6. Dreams
7. Revival
8. Don't Keep Me Wonderin'
9. Midnight Rider
10. Hoochie Coochie Man

Disc 2
1. Statesboro Blues
2. Hot 'Lanta
3. In Memory Of Elizabeth Reed
4. Whipping Post
5. One Way Out
6. Ain't Wastin' Time No More
7. Melissa
8. Stand Back
9. Blue Sky
10. Little Martha

Disc 3
1. Wasted Words
2. Ramblin' Man
3. Southbound
4. Jessica
5. Can't Lose What You Never Had
6. Win, Lose Or Draw
7. Crazy Love
8. Can't Take It With You
9. Pegasus
10. Just Ain't Easy

Ye k.,bnt ds b[? ht,znf - ghjcnj d ukfpf ,hjcftncz/
Ну что же.
08.12.1947 - родился Gregg Allman, американец, музыкант.

Gregg Allman-- Allman Brothers founder and ex-husband of Cher-- underwent a liver transplant Wednesday (June 23) at the Mayo Clinic in Jacksonville, Florida. The 62 year-old has been battling Hepatitis C since 2007. The Allman Brothers Band was forced to bow out of Eric Clapton's Crossroads Blues Festival in suburban Chicago Saturday.

Gregg Allman (with portrait of his brother), 1975

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