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Beginnings

The band was formed in Jacksonville, Florida on March 26, 1969, and consisted of Duane Allman (slide guitar and lead guitar), Gregg Allman (vocals, organ), Dickey Betts (lead guitar, vocals), Berry Oakley (bass guitar), Butch Trucks (drums) and Jai Johanny "Jaimoe" Johanson (drums).

The actual Allman brothers, Duane and Gregg, had originally been in a garage band called the Escorts, then the Allman Joys and finally the Hour Glass. The Hour Glass had released two failed albums from Liberty Records. They were all released from the contract except Gregg, who Liberty thought might have some commercial potential. Duane Allman, with a stint as a session guitarist in Muscle Shoals, Alabama on Johnny Jenkins Ton-Ton Macoute album behind him (it was to be Duane's first solo album before the ABB was formed), started jamming with Dickey Betts, Butch Trucks and Berry Oakley in Jacksonville. Duane brought in Jaimoe, a drummer he had played with before and the nucleus of the band was formed. Gregg was in Los Angeles, fulfilling the Hour Glass contract with Liberty Records. He was summoned back to Jacksonville by Duane to "fill out the band and sing."

The Allman Brothers Band played numerous shows in the south before releasing their debut album, The Allman Brothers Band. Critics loved it, but the blues-rock album found few listeners, attracting only a cult audience. Most of the record had a blues-rock sound, but "Dreams", a spacy number in 12/8 time, would provide the framework for some of their best jams.

Idlewild South (1970), the followup, produced by Tom Dowd, was a massive critical success, and managed to be quite lucrative, as well. The upbeat "Revival" and the moody-but-resolute "Midnight Rider" showed the band getting more adept at shorter, radio-friendly song forms. (It was after the release of Idlewild South that Duane Allman joined in the recording of the classic Layla and Other Assorted Love Songs with Eric Clapton's Derek and the Dominos group.)

1971 saw the release of a live album, At Fillmore East, recorded on Friday and Saturday March 12 and March 13 of that year at the legendary rock venue the Fillmore East. The album was another huge hit, and is now widely regarded as one of the best live albums of all time. It showcased the band's unique mixture of jazz, classical music, hard rock, and blues, with arrangements propelled by Duane Allman and Betts's dual lead guitars, Oakley's long, melodic "third guitar" bass runs, the rhythm section's pervasively percussive yet dynamically flexible foundation, and Gregg Allman's gritty Ray Charles-like vocals and excellent piano/organ play which all completed the band's wall of sound. The rendition of Blind Willie McTell's "Statesboro Blues" was a straight-ahead opener, the powerful "Whipping Post" (with its famous 11/8 bass opening) became the standard for an epic jam that never lost interest, while the ethereal-to-furious "In Memory of Elizabeth Reed" invited comparisons to John Coltrane and Miles Davis and the complex and surpassingly subtle rhythms in the driving "One Way Out" kept beat-counters, as well as all others, at once puzzled and mesmerized.

The Allman Brothers received the honor of being the last act to play the Fillmore East before it closed in June of 1971. The final shows there achieved legendary status, partly due to bands' literally playing all night; in 2005 Gregg Allman would relate how the jamming musicians lost track of time, not realizing it was dawn until the side doors of the Fillmore were opened and the morning light poured in. The band continued to tour; decades later, a special-order recording of one of their final concerts in this lineup, SUNY at Stonybrook 9/19/71, would be released. It reveals that Duane Allman's slide guitar playing on "Dreams" and other songs was touching the farthest reaches of both that instrument and his imagination.

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