Celebrating the Allman Brothers Band with musicians who were close with them.
"Friends of the Brothers is a hell of a band!" -Jaimoe, founding ABB member
“They play the music of the ABB with passion and precision.” -Warren Haynes
Friends of the brothers - not just another band.
“I really enjoyed sitting in with Friends of the Brothers at Harvest Music Festival. They play the music of the ABB with passion and precision, and are carrying on their musical tradition in the right way.”
-Warren Haynes
"They're a hell of a band!"
-Jaimoe
“Friends of the Brothers are a super sick band and I loved playing with them.”
-Kevin Scott, Gov't Mule, Jimmy Herring Band
"Though they honor the music, Friends of the Brothers never feel like a ‘tribute band.’ They play the songs as if they'd written them. "
- David Browne, Rolling Stone
“Friends of the Brothers isn’t a tribute band. They’re a continuation of the Brotherhood.”
-Kirk West, Allman Brothers Tour Mystic
PRESS
"Warren Haynes Shreds ‘Whipping Post’ With Friends Of The Brothers." - Jambase
"Jaimoe Celebrating His 80th Birthday With Friends Of The Brothers Summer Shows"
"Alan Paul, Duane Betts & The Weight Of History: Friends Of The Brothers Play City Winery New York"
-Why We're Different - an interview with Alan Paul
-Why Jaimoe chose us. An interview with Allman Brothers employe Number One.
https://friendsofthebrothersband.com/about
-Alan Paul remembers Butch Trucks in Relix.
-Please Call Home: Alan Paul Remembers Gregg Allman in Relix
-A Relix interview with Alan Paul
Who We Are
The Friends of the Brothers is a celebration of the music of the Allman Brothers Band, with members closely associated with the original band and continuing the brotherhood with passion, committed to the ideals of every night being special and unique.
Guitarist/singer Junior Mack has fronted Jaimoe’s Jasssz Band for 12 years and starred in the critically acclaimed Broadway show Lackawanna Blues. Guitarist Andy Aledort played with Dickey Betts for 12 years, has recorded with Double Trouble and Band of Gypsys and toured with Experience Hendrix. Singer/guitarist Alan Paul is the author of two New York Times bestsellers about the band, One Way Out and Brothers and Sisters, both based on 25 years of reporting on and interviewing the band.
Since April, 2024, the band has performed regularly with Jaimoe, the sole surviving original member of the Allman Brothers Band. Allman Brothers and Gov’t Mule guitarist Warren Haynes and his bassist Kevin Scott have also been recent guests.
The group members’ first-hand experience with the Allman Brothers Band and their deep knowledge of the repertoire and the music’s roots and heritage allows them to play with an unrivaled depth. They perform songs from every stage of the Allman Brothers Band’s career, backed by a band of inspirational, veteran players, including drummers Dave Diamond (Zen Tricksters, Bob Weir, Robert Randolph) and Lee Finkelstein (Tower of Power, Blues Brothers), bassist Craig Privett (Half Step) and keyboardist Mike Katzman (Leslie Mendelsohn, The Electrix).
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"This band is based around our shared love of the Allman Brothers Band and our friendships with one another," says Paul. "It's not just a gig. The music is holy to us, but it's also alive. We honor our friends and mentors' legacies by investing this great music with life, heart and passion. It's not about copying solos, which would be completely against the spirit the Allman Brothers had from the day Duane Allman formed the band in 1969."
They are often joined by singer Lamar Williams Jr., who is the son of the late Allman Brothers bassist and was featured in Les Brers, featuring ABB members Butch Trucks, Jaimoe, Oteil Burbridge and Jack Pearson. Founding keyboardist Peter Levin toured the world with Gregg Allman for 3 years and appears on his final album, Southern Blood. Mack, Aledort, Levin and Williams all performed with the Allman Brothers Band. Other Friends have included guitarists Duane Betts, Johnny Stachela, Eric Krasno, Tash Neal (Slash, Amy Helm) and Brandon “Taz” Niederauer, keyboardists Jason Crosby (Phil Lesh, Susan Tedeschi), Steve Molitz (Phil Lesh, Robby Krieger) and Ike Stubblefield (Col, Bruce Hampton, George Benson, B.B. King), drummers Jeff Sipe (Col. Bruce Hampton, Susan Tedeschi, Warren Haynes), Eric Kalb (Eric Krasno, John Scofield, Scott Sharrard) and Van Romaine (Steve Morse, the Dixie Dregs), saxophonist Ron Holloway (Gov’t Mule, Allman Brothers), and bassists Brett Bass (Gregg Allman) and Berry Duane Oakley (Allman Betts Band).
An interview with jaimoe
A discussion with Allman Brother Employee Number One By Alan Paul
Jaimoe was the first member Duane Allman hired for his fledgling Allman Brothers Band, shortly after the drummer and guitarist met in 1968 at Fame Studios in Muscle Shoals, Alabama, where Duane was playing sessions. Jaimoe, a native of Gulfport, Mississippi and a veteran of Otis Redding, Percy Sledge and other r&b bands, was on his way to New York City to try and fulfill his dream of being a jazz drummer. Instead, he became a cornerstone of a Rock and Roll Hall of Fame band as they launched a 45-year career that ended at the Beacon Theater on October 29, 2014.
The drum great spoke to Allman Brothers biographer Alan Paul.
YOU CAME UP AS A R&B AND SOUL DRUMMER, THEN MADE THE JUMP INTO THE WORLD OF ROCK 'N' ROLL WITH THE ALLMAN BROTHERS BAND IN 1969. HOW DID YOUR FORMATIVE YEARS OF DRUMMING PREPARE YOU FOR PLAYING IN THE ALLMAN BROTHERS?
You can go from the Otis Redding and blues to rock, no problem. It’s all raw, open notes. I wanted to be a jazz player only knowing what I heard on records. I was schooled in music and drumming by a great music teacher and high school marching band and I learned how to play; what you do with it doesn’t matter. All this music came out of the same place: churches. Last night on The Voice a guy did [Otis Redding’s] “Try a Little Tenderness” and I told my wife, “You hear that horn? It’s straight from the church.” It’s traditional spiritual music.
Blues this and rock that, whatever someone stuck a name on, it’s coming from the same place and you go up the ladder to try and become what you want to be. I once heard BB King say that the only difference between blues and gospel was the words. My spiritual godfather Antonio DaSilva, a shaman voodoo priest, told me the same thing when I asked him how I know what to play: “The only difference in the music is the words. Don’t say the words.”
WHAT WAS IT LIKE IN THE INITIAL STAGES OF THE ALLMAN BROTHERS BAND, ESPECIALLY GEARING TOWARDS THE BAND’S FIRST, SELF-TITLED RELEASE IN 1969?
For me, it was like everything I ever wanted to play. I discovered that the first time I ever played with Duane in Muscle Shoals. Duane got done with a session and rolled that Fender Twin amp out of the main room next door where I had my drums set up and we just started playing. Then he called Berry [Oakley] to come and once he joined in, I was in heaven. And it wasn’t like something I learned over time or had to think about it. It was immediate: this is the shit I’ve wanted to play all my life.
BUT YOU HAD NEVER KNOWN IT!
Yeah. Or maybe I did. Once you hear what you’re searching for, you immediately know what it is. It’s not like something that’s foreign to you. You knew it all your life. Everything had been building to that and when you find it, you know it.
Berry was a real blues guy. Duane and I were just two adventurous cats and we just played, and what was so interesting to me is we scared the shit out of the cats in that studio, man. They just had never heard it approached like that. They were used to “play so many bars of this and so many bars of that.” We just played, no talking. These were natural things like breathing. When you started playing with someone like that you knew what to play. It was all right there. So the only development from there to the Allman Brothers Band and our first album was the development of the ideas of six people playing in together a style that as Duane said, moved it forward. We just had the right chemistry with the right people and it was like breathing..
IN THE 1990S, THE ALLMAN BROTHERS BAND CAME BACK AND GAINED A NEW, YOUNGER AUDIENCE. DO YOU FEEL THAT THAT TIME AND THE JAM BAND WORLD YOU GUYS WERE LEADING HELPED BRING A NEW DIMENSION TO YOUR SOUND, AND ULTIMATELY SHAPE YOUR LEGACY?
Yes and no. It was just another step because you take what you heard all your life and hear it being approached differently because there are people who came from another place. So guys like Warren [Haynes], Derek [Trucks] and Oteil [Burbridge], shit they knew the Allman Brothers but they had different experiences than us. They had played with different people, listened to different music and had different ideas. And everything affects everything, so I took a different approach and we all did, I guess.
I was just relating to what I was hearing, which is all you can do. When you really understand music, it’s like the wind. It goes this way, it goes that way. You have your base and it’s never going to move from 1969 to 1995 to 3005. It’s like “Thou shalt not steal.” People in 3005 might not know the 10 commandments, but there’s never gonna be a time when motherfuckers should steal. Things advance, but the rules don’t change.
Sadly. you are now the last surviving original allman brothers Band member. Do you feel a responsibility to continue the music?
I felt that way when the band existed and even more so now. I believed that the legacy was a serious thing way before Butch or Gregory passed and even Duane or Berry! I said, “We are now the people that we looked up to.” That means that when you go on stage, you better be jamming and playing your ass off. We are the masters that we looked up to and when you hit the stage you cannot be out there shucking. Whatever you do, do it as a master.
As soon as I started playing with Duane, we set out to be great and it’s something to live up to, but it’s not hard. It’s what you do. I picked up a drumstick inspired by Gene Krupa, Elvin Jones and Max Roach and I’ve been trying to play great since the first time I played along with their records. Other people have done that playing to Duane or whoever what else. That’s an honor!
YOU RECEIVED THE PRESTIGIOUS HARRIET TUBMAN MEDAL OF FREEDOM FOR YOUR PROGRESSIVE ROLE IN CIVIL RIGHTS ACTIVISM. WHAT WAS YOUR REACTION TO RECEIVING THIS AWARD?
I was knocked out. I thought, “Is this a joke?” it’s the biggest award I’ve ever seen.
DOES CIVIL RIGHTS ACTIVISM PLAY A ROLE IN THE MUSIC THAT YOU PLAY?
I really don’t know. It comes from a different place, but I’ve always felt good about the freedom of music.
An Interview with Jaimoe
An Interview with Jaimoe - By Alan Paul
- A discussion with Allman Brother Employee Number One
Jaimoe was the first member Duane Allman hired for his fledgling Allman Brothers Band, shortly after the drummer and guitarist met in 1968 at Fame Studios in Muscle Shoals, Alabama, where Duane was playing sessions. Jaimoe, a native of Gulfport, Mississippi and a veteran of Otis Redding, Percy Sledge and other r&b bands, was on his way to New York City to try and fulfill his dream of being a jazz drummer. Instead, he became a cornerstone of a Rock and Roll Hall of Fame band as they launched a 45-year career that ended at the Beacon Theater on October 29, 2014.
The drum great spoke to Allman Brothers biographer Alan Paul.
YOU CAME UP AS A R&B AND SOUL DRUMMER, THEN MADE THE JUMP INTO THE WORLD OF ROCK 'N' ROLL WITH THE ALLMAN BROTHERS BAND IN 1969. HOW DID YOUR FORMATIVE YEARS OF DRUMMING PREPARE YOU FOR PLAYING IN THE ALLMAN BROTHERS?
You can go from the Otis Redding and blues to rock, no problem. It’s all raw, open notes. I wanted to be a jazz player only knowing what I heard on records. I was schooled in music and drumming by a great music teacher and high school marching band and I learned how to play; what you do with it doesn’t matter. All this music came out of the same place: churches. Last night on The Voice a guy did [Otis Redding’s] “Try a Little Tenderness” and I told my wife, “You hear that horn? It’s straight from the church.” It’s traditional spiritual music.
Blues this and rock that, whatever someone stuck a name on, it’s coming from the same place and you go up the ladder to try and become what you want to be. I once heard BB King say that the only difference between blues and gospel was the words. My spiritual godfather Antonio DaSilva, a shaman voodoo priest, told me the same thing when I asked him how I know what to play: “The only difference in the music is the words. Don’t say the words.”
WHAT WAS IT LIKE IN THE INITIAL STAGES OF THE ALLMAN BROTHERS BAND, ESPECIALLY GEARING TOWARDS THE BAND’S FIRST, SELF-TITLED RELEASE IN 1969?
For me, it was like everything I ever wanted to play. I discovered that the first time I ever played with Duane in Muscle Shoals. Duane got done with a session and rolled that Fender Twin amp out of the main room next door where I had my drums set up and we just started playing. Then he called Berry [Oakley] to come and once he joined in, I was in heaven. And it wasn’t like something I learned over time or had to think about it. It was immediate: this is the shit I’ve wanted to play all my life.
BUT YOU HAD NEVER KNOWN IT!
Yeah. Or maybe I did. Once you hear what you’re searching for, you immediately know what it is. It’s not like something that’s foreign to you. You knew it all your life. Everything had been building to that and when you find it, you know it.
Berry was a real blues guy. Duane and I were just two adventurous cats and we just played, and what was so interesting to me is we scared the shit out of the cats in that studio, man. They just had never heard it approached like that. They were used to “play so many bars of this and so many bars of that.” We just played, no talking. These were natural things like breathing. When you started playing with someone like that you knew what to play. It was all right there. So the only development from there to the Allman Brothers Band and our first album was the development of the ideas of six people playing in together a style that as Duane said, moved it forward. We just had the right chemistry with the right people and it was like breathing.
IN THE 1990S, THE ALLMAN BROTHERS BAND CAME BACK AND GAINED A NEW, YOUNGER AUDIENCE. DO YOU FEEL THAT THAT TIME AND THE JAM BAND WORLD YOU GUYS WERE LEADING HELPED BRING A NEW DIMENSION TO YOUR SOUND, AND ULTIMATELY SHAPE YOUR LEGACY?
Yes and no. It was just another step because you take what you heard all your life and hear it being approached differently because there are people who came from another place. So guys like Warren [Haynes], Derek [Trucks] and Oteil [Burbridge], shit they knew the Allman Brothers but they had different experiences than us. They had played with different people, listened to different music and had different ideas. And everything affects everything, so I took a different approach and we all did, I guess.
I was just relating to what I was hearing, which is all you can do. When you really understand music, it’s like the wind. It goes this way, it goes that way. You have your base and it’s never going to move from 1969 to 1995 to 3005. It’s like “Thou shalt not steal.” People in 3005 might not know the 10 commandments, but there’s never gonna be a time when motherfuckers should steal. Things advance, but the rules don’t change.
Sadly. you are now the last surviving original allman brothers Band member. Do you feel a responsibility to continue the music?
I felt that way when the band existed and even more so now. I believed that the legacy was a serious thing way before Butch or Gregory passed and even Duane or Berry! I said, “We are now the people that we looked up to.” That means that when you go on stage, you better be jamming and playing your ass off. We are the masters that we looked up to and when you hit the stage you cannot be out there shucking. Whatever you do, do it as a master.
As soon as I started playing with Duane, we set out to be great and it’s something to live up to, but it’s not hard. It’s what you do. I picked up a drumstick inspired by Gene Krupa, Elvin Jones and Max Roach and I’ve been trying to play great since the first time I played along with their records. Other people have done that playing to Duane or whoever what else. That’s an honor!
YOU RECEIVED THE PRESTIGIOUS HARRIET TUBMAN MEDAL OF FREEDOM FOR YOUR PROGRESSIVE ROLE IN CIVIL RIGHTS ACTIVISM. WHAT WAS YOUR REACTION TO RECEIVING THIS AWARD?
I was knocked out. I thought, “Is this a joke?” it’s the biggest award I’ve ever seen.
DOES CIVIL RIGHTS ACTIVISM PLAY A ROLE IN THE MUSIC THAT YOU PLAY?
I really don’t know. It comes from a different place, but I’ve always felt good about the freedom of music.