This 2-DVD (and 4-CD) release of The Brothers’ March 10, 2020 concert at New York City’s Madison Square Garden evokes a few “what ifs.”  The first one: What if an ensemble comprised of former members of, or adjacent to, The Allman Brothers Band celebrated a 50th anniversary of the iconic Rock-and-Roll Hall of Fame group with a single sold-out, nearly four-hour performance?  Without the band’s two more prominent voices; late, great singer and keyboardist Gregg Allman or founding guitar master and singer Dickey Betts?  Could that work?

As Allman Brothers Band archivist John Lynskey details in the liner notes, on invitation from founding drummer, Jaimoe, longtime latter-day members- guitarists Derek Trucks and Warren Haynes, bassist Oteil Burbridge, and percussionist Marc Quinones- plus ‘70s Allman Brother Chuck Leavell guesting on piano and vocals, original 1969 rehearsal keyboardist, Reese Wynans, and drummer Duane Trucks, brother to Derek and nephew of the ABB’s late drummer, Butch Trucks, formed The Brothers.  Talent, to say the least, is not an issue.  And, perhaps sensing the musically historical importance of the night (not to mention the show being what ended up the last major indoor concert for over a year due to COVID-19), the assembled octet paid particularly close attention and reverence to both arrangement and tempo.  Like a zeroed-in, fighter jet squadron, these eight seem on a mission, executing with near-perfection some of the most impassioned and meticulous renditions ever of The Allman Brothers Band’s magnificent catalog.

The Allman Brothers’ biggest hit, “Ramblin’ Man,” is missing, but really that’s not surprising.  Even when Betts, the song’s author, was with the reformed group in the ‘90s it was often absent from setlists.  The bulk of the show comes from the band’s first five years, and opens with Allman, via a modern tech video appearance, singing the first line of “It’s Not My Cross to Bear” before Haynes takes over the track from the ABB’s 1969 debut.  Give a special nod of gratitude to Haynes who, other than Leavell’s vocal on “Blue Sky,” admirably and magnificently handles all of the vocal duties.  Allman is deeply missed, of course, but Haynes’ performance in his stead is deserving of heaping praise.

As for improvisational musicianship, can it reach a higher level than this?  Derek Trucks, Haynes, and Burbridge are ridiculously good here, attacking with equal amounts of taser and taste the harmonic territory first conquered by Duane Allman, Betts, and Berry Oakley.  Wynans is the perfect sub for Allman at keyboards, nailing the trademarks, and adding energized flourishes all his own.  Jaimoe remains the enduring soul, and Quinones the swinging groove, as Duane Trucks pumps the beating heart; the MVP of the Brothers, conducting this mighty freight train, echoing his uncle at his best.

The lasting, bittersweet “what if” after the final notes of “Whipping Post” rippled through the Garden rafters is, what if there was no pandemic, and The Brothers took this show on the road?  It’s easy to imagine arenas everywhere filling up to hear this band.  It’s simply that brilliant of a performance.  It was a dicey call to go ahead with the concert literally hours before the world paused, but there is no doubting the intent.  It wasn’t to defy or deny the reality outside, but to celebrate the immortal music of The Allman Brothers Band like it was the last night on Earth.