The Jam Charts · phish.net's good stuff

Jazz Festival version with Michael Ray rocking the trumpet.

"YEM" jam -> to an a capella "Wolfman's Bother" for the vocal jam.

-> in from "YEM." 2 verses of "Wolfman's" sung a capella, serving as the "YEM" vocal jam, before going electric to finish this straightforward version.

Good accented notes and riffs from Trey, but a well orchestrated build up is the strong point. Great Fish in the peak, too.

Great tension-filled version that gets out there with a jam based on "Caravan" by Duke Ellington.

"Sunshine Of Your Love" tease and Trey on keys for a portion of the Duel. An odd Duel for sure with howling and strange sounds, crazy Page, and chanting by Mike. Released on Live Bait Vol. 4.

Fun debut. Notable for a strong vocals, tight play, and a decidedly different arrangement, it's clear the song is here to stay, even though "[the band] don't know the end yet."

With Carlos Santana and Karl Perazzo. Exteded jam with Trey and Carlos taking turns on lead guitar. -> to "Llama."

Carlos Santana on guitar and Karl Perazzo on percussion. -> in from "Taste." Version has a cool little percussive breakdown jam about midway through before returning to "Llama" proper.

Cool jam with awesome Mike early on and a very different approach to "Bowie." Becomes typically intense as the jam progresses with strong Fish.

An interactive jam in which the band plays chords yelled out by the audience to a ska groove.

Unfinished? Maybe. Or, -> from "Jam" and -> an unfinished "Slave," simply part of a crazy point in history where a clearly 'distracted' band works through the song as best as they are able before creating a bouncy, Page-crazy, chord-laden (Trey) version marked by wide open space; strange changes; e…

Caps the second set of one of Phish's most maligned (misunderstood?) shows. Accounts suggest the band, following an unfinished "Suzy" (every song in the set is either unfinished, or has missing lyrics), leaves Fish onstage to maintain a "slow, hypnotic, beat." Maybe so / Maybe not. (Seems like Fish…

Powerful version. In the final two minutes (the coda), Trey plays in a "staccato" or so-called "plinko" way.

Starts to break away from the standard at about 8:00 into a driving, rhythmic jam which gets out there nicely. Returns to "DwD" only in the final minute, with a > to "McGrupp." Much more exploratory than most '96 versions excl. 11/27/96.

The jam section has a nice swinging vibe at first, with the others quietly supporting Page. Trey and Fish kick it up a few notches, then there's a sweet little salsa jam which sounds very much like "The Landlady." This fun little jam seems to magically segue back into "McGrupp"…

> "2001", check out the fun, "Euro" clapping running through the intro. Surprisingly, the jam assumes a slightly darker sentiment, which runs counter to "Jim's" usual plucky, upbeat tone. Fish is super, as is Trey, and play almost seems to veer into "CHYMK" before brightening, Trey leading the band…

Single jam version which organically moves away from standard fare at around 8:50 and grows dim, quiet and probing. Eventually, the play morphs back into powerful, tense "Mike's" jamming, settles, and transitions to "Hydrogen" without the customary closing chords.

Good melodic variation by Trey, some great tension building, and a nice peak make for a good "Possum."

Page solo, followed by Trey on guitar, then the rest of the band join in leading to the klezmer, chanting and finish.

Great early funk jam starts at 12:00 with Page on the clavinet and Trey on the mini percussion kit. -> to "It's Ice."

Not too long, but a pretty unusual and cool jam.

The band rocks out the typical outro jam a little longer than usual, then Page cranks up the theremin for "Somewhere Over The Rainbow."

An intense and hard rocking 1st jam with spiraling tension is followed by an equally powerful, but different 2nd jam. No mini kit action here as Trey is clearly out in front guiding this powerhouse jam.

Imperfect "Norwegian Wood" teasing from Trey.

Jam shifts to major mode at about 8:08, continuing until about 9:30, for some upbeat jamming.

Lots of Trey banter during the jam, including his warning about the notorious Red Rocks giant iguana.

"Runaway Jim" -> "Gypsy Queen" (Santana) -> "Runaway Jim." The jam also has some good rhythmic exploration beyond the segue to "Gypsy Queen."

-> in from "Runaway Jim." Lots of good Santana-like rocking in this section which -> back to "Runaway Jim" to conclude.

-> in from "Gypsy Queen" to wrap up this solid "Runaway Jim."

Extended section of dissonant jamming (6:25 - 9:50) eventually returns to more familiar "Possum" habitat.

Excellent, wide-open, and groove-oriented jamming leaves all sorts of space for soloing, and Trey leads with beauty and grace, his phrasing measured and ripe with shimmery, summertime aplomb. Fish's accents are instrumental in creating a notable contrast, as the version coasts to a soaring, trill-f…

Has a really good but brief breakdown jam from 8:15 - 11:15 before returning to "DwD" to conclude. Several other '96 versions have a similar 3 or so minute rhythmic jams that return to "DwD" (10/19/96, 10/22/96, and 12/31/96).

"Sunshine Of Your Love" tease by Page during solo. Guitar/vocal response by Trey. He gets pretty crazy, screaming. A lot of noise - percussion, guitar - during Page's second solo. Chanting.

Jam includes a beautiful and tear jerking Page and Trey duet from 6:40 - 9:55. The rest is predictable but solid "Hood."

Exceptionally strong version featuring great solos and tight playing from all four musicians.

Excellent percussion support from Fish in this choppy, discordant jam.

Set II opener. Excellent Deer Creek version with nice Fish and Page contributions. Transition to "Sparkle" once again.

Rhythmic variation plus good dissonance combine to put this intense version outside the box.

Extended intro with cool funky Mike and Trey. Jam peaks at 10:30, then drops into dissonant mode before re-powering.

Majestic and grand. Right up there with 10/31/94, just a different style and vibe. If you are a fan of Page's piano playing, this one is for you.

Extra gnarly version with a percussive bent and divebombing effects from Trey in the final build.

Page stays on the piano throughout which gives this version a majesty similar to 12/30/93. Trey's restraint early on puts the spotlight nicely on Mike, Page, and Fish. Of course Trey makes a strong showing near the ending.

Intense and hard rocking straightforward version. Great Trey and Page. > to "The Lizards."

A super-heavyweight, multi-section version features a 1st jam that includes exotic sounding scales and serious tension loading. At 9:05, the 2nd jam begins with intense, rhythmic rocking and swirling guitar play. By 15:30, the firestorm has cooled, and Page takes the lead on multiple keyboards as T…

Wrapping up an impressive "Groove," this version includes strong playing by Trey, funk, percussion, and Page on theremin. -> to "Somewhere Over The Rainbow" with Page on theremin.

-> in from "Wilson." A very good, badass, dissonant and mildly funky jam emerges that grows spacey and > to "DwD."

Great -> into "Poor Heart."

With the Clifford Ball looming, the band throws down a version suitable for any festival. Fast and frenetic, the band channels some inner-Fall 1995 and plays powerfully and without reservation, racing through the composed section to jam with added verve and tenacity. A signature moment from summer…

Jam gets nicely beyond "Jim," returns, then breaks into some percussive jamming with Trey on the mini kit. Unfinished with > to "YEM."

A must-hear ending to this version which is "type II" in part.

Classic "Clifford Ball" version featuring a totally relaxed vibe, glittering Page, and one of Trey's most memorable "Esther" solos.

The longish (to 9:00) 1st jam is crisp and well played, but covers pretty familiar territory. However the 2nd jam breaks into solid and intense rocking action, with all four band mates contributing in good measure.

A soaring and impeccably played straightforward jam is followed by a cool Page-led funky outro jam while Trey addresses the Clifford Ball crowd.

Although largely "Type I,", this very popular, well-played version strays from the ranch towards the end with a -> to "NICU."

Enchanting solo from Trey leads the band in a patient, beautiful build-up to a mighty peak that segues (literally) into fireworks.

-> in from "Hood." A cacophony of noisy jamming follows "Harry" to accompany fireworks, concluding the Clifford Ball Day I.

The band's first "official" festival also introduces the concept of the Secret Set. The band loaded up on a flatbed truck and began traversing the grounds in the middle of the night. As with anything that happens for the first time, it doesn't go off without a hitch. Less than nine minutes in, Trey…

Beautiful. As if so composed. Like grains of sand in some mystic mandala. And then perfectly arranged.

> "The Curtain", the "Clifford Ball's" special, sweet version is executed with great precision, a case study in tone, tempo, and meter. The band an ethereal conduit for (or from) some other dimension, here is nothing but on-point play, the four as one expertly channeling their supremely crafted vis…

Old fashioned version with the whole band involved in a subdued jam.

Ice Cream moguls Ben and Jerry sing the refrain before the jam. Trey's playing is as lightning fast as ever, although the sentiment is less shrill and dissonant than in '91 - '92. Page jumps to piano near the end which is a nice, unusual twist.

A truly great performance, the Clifford Ball "Fluff" features tight, near-perfect playing, great Fish throughout, early funk from Page in Clod, crisp vocals, and swirly, funky Trey, providing backing for Page's superb piano solo, also in Clod. Working through the vocals in Bundle of Joy, you get th…

Page deploys the Fender-Rhodes early on. This one has great balance, with everyone contributing in equal measure. Trey's skillful use of the Leslie effect as the jam builds to a peak puts this one in the elite category.

The others encroach on Page's solo, then back off. Fishman takes over on drums for an extended solo. Page responds with his own solo. Finally, arrival at the familiar klezmer pick-up, chanting and finale.

Very good, popular version.

Lots of nice improvisational twists and turns in the jam including dissonant and off-key jamming with great tension.

With Trey on the "mini-kit" Page grooves around quite a bit on organ.

Guitar/vocal response by Trey. "DEG" -like jamming in Page's second solo by Page and Trey > klezmer and chanting.

Words do not adequately describe how demented, sick, insane, twisted, tension-filled, and incredibly dissonant this version is. It's a fantastic masterpiece! Go hear it Now! (get the sbd download from the SPAC FTA release on the "spreadsheet").

Teases of Peter Frampton's 'Do You Feel Like We Do' during an elongated jam segment with a soaring peak.

Fall 1996 is notable for any number of reasons, not the least of which is the treatment "Reba" receives. Here is a case in point, with the band exiting the composed section to work through a terrific passage of extended, improvisational calm. Of course Trey is great, but Page's playing is particula…

A minor hiccup in Fluff's Travels is redeemed with a super tight The Chase, and Mike and Fish are especially strong. Page and Trey fire up the crowd with spirited playing in Who Do? We Do!, while funky keyboards, Fish, and a fantastic Page piano solo make for a great Clod. Serious tension building…

Here's an odd one: the entire song is played in a different (lower) key. Go figure.

Funky version with Trey on the "mini-kit." -> to "The Horse."

Guitar/vocal response by Trey in jazz style. Combined piano and guitar/vocal response to Trey's jazz work, which gets really nuts at the end. Klezmer, chanting and finale.

The "Freakapaug," as the band is joined on stage by circus dancers and Mimi Fishman, and the music rises to a fittingly celebratory peak.

Bob Gullotti on second drum set. Nice two-way drum solo.

Extra drummer (Bob Gullotti), plus Trey on the percussion kit for awhile = lots of OOooomph.

Creepy background effects pair with some fantastic piano stylings.

Awesome version. Following the standard outro jam, Trey jumps to the mini percussion kit, while Page jams with his keyboard toys including the Moog and B-3. Mike and Page produce some excellent jazzy and funky sounds. -> to "McGrupp."

Page > Trey vocal/guitar >Page on piano and Trey vocal/guitar together > Percussion -> Mike sings "Catapult" > Page plays "Catapult" on Theremin -> klezmer > Mike chanting > finale.

-> in from "SOAMule." "Catapult" is played in the middle of a crazed Mule Duel. -> back to "Mule."

-> in from "Catapult" to complete this crazy "Mule."

First version with a "Norwegian Wood" (the Beatles) tease, although this one did not signify the end of the jam section. In the future, much debate would ensue over the chordal riff signaling the song's conclusion - "NICU" (which this riff MOST CLEARLY RESEMBLES part of the melody of), "Norwegian W…

With Karl Perazzo on percussion. The 2nd jam lives up to its accolades, but honestly, the 1st jam, even with Perazzo's strong presence is a bit plodding. But that 2nd jam, wow! It's literally a synthesis of Phish styles past, present and future. Combining '95-style arena rock with '96 percussion/k…

Guest percussionist Karl Perazzo lends added pop to this powerful pre-"Remain in Light" version.

Straightforward, but a classic rendering that nicely captures the '96 style of "Caspian" jamming, and differs markedly from subsequent styles of "Caspian" jamming that would emerge in '97, '98, '99, and later. > to "Reba."

> "Prince Caspian," this fan-favorite and Halloween thriller features notable full-band play, but is wholly dominated by Trey. Forceful and pointed soloing bends, but doesn't break around 11:00, with Trey shaping his tone and Fish breaking down the beat. Huge guitar builds and swells until arriving…

First version, with horns, and Karl Perazzo on percussion. Tight, fierce, and ends with a percussion solo.

Karl Perazzo percussion craziness, with a lovely amount of loops throughout.

With Karl Perazzo on percussion, a great rhythmic and funky groove grows out of "Simple" before groovily returning. -> to "Swept Away."

Karl Perazzo on percussion, Dave Grippo on saxophone, and Gary Gazaway on trumpet. "Born Under Punches" tease from Page. This excellent version has a completely different feel to it than 10/31/95, despite the similar addition of horns. This one has more of a jazz-like vibe to it, as well as strong…

Karl Perazzo on percussion. Great version with a "tropical" feel.

Karl Perazzo on percussion. -> to "Taste."

With Karl Perazzo on percussion. One of the most energetic and exciting jams in Phish's career.

Karl Perazzo on percussion. -> in from a 20+ minute "C&P." Straightforward but an intense and spirited version.

Karl Perazzo on percussion. Wonderfully celebratory "Hood" in which Trey hits on a cool riff at 9:45 and Page is rock solid.

Extended improvisational version with Karl Perazzo.

Karl f'ing Perazzo! Page is really awesome in this version, too.

In '96, the band seemed to stretch out the "Type I" 1st jam considerably, and this one is a good example, which continues to 10:05, but not much really happens in that time. In the 2nd jam, Page treats us to a run through his gamut of keyboard toys, including the Moog, B-3, Fender-Rhodes, and piano…

Straightforward, but with very strong, inspired playing by Trey (and everyone else, too).

Page > Trey vocal/guitar > Page piano, Fish on percussion, Trey guitar, Mike bass jamming out to Page's piano > klezmer and finale.

Incredible, multi-faceted, Must-Hear "Gin" with 4 distinct sections: 1) a stirring, Trey-led "Type I" jam; 2) a superb Page-led Moog and keyboard jam; 3) a spirited, rocking Trey-led jam; and 4) a cool, unusual ending section.

Trouble in the composed section is quickly forgotten when the band begins the jam in atypical fashion, with incredibly cool playing from Fish offset by uncharacteristic - for the era - effects. Really cool. Stop / start playing becomes more direct, before Trey modifies his tone and the jam passes t…

> in from "2001." Mean, nasty guitar licks from Trey before the whole band ratchets up the intensity into a cataclysmic inferno of percussive violence and gut-ripping tension.

Following the conventional "Simple" outro, another Page-led jam develops with Trey on the mini percussion kit. Then Trey takes over, leading a fiery guitar-based jam.

Fearsome B&D!

Mike really shines in this great version.

-> to an excellent, wide ranging "Jam" follows "Suzy" proper. At first a typically rhythmic '96 jam with Trey on the mini percussion set up and Page jumping around different keyboards, it morphs into an upbeat, driving jam, even adding a little psychedelic edge near the ending > to "Prince Caspian."

-> in from "Suzy Greenberg." Excellent, wide ranging jam follows "Suzy" proper. At first a typically rhythmic '96 jam with Trey on the mini percussion set up and Page jumping around different keyboards, it morphs into an upbeat, driving jam, even adding a little psychedelic edge near the ending > t…

Strong VJ.

Page solo > Trey guitar/vocal solo > Page on piano, Trey on guitar with crazy falsetto singing > klezmer.

After a relatively brief (for this period) 1st jam, the 2nd begins with some early funk-infused playing. Around 8:20, the sentiment shifts to rocking, upbeat hose jamming, similar to several of the great "Simple" jams from Fall '96. An excellent rock-the-house jam.

Breaks into a great groove at 9:15 with some early funk sounds from Page and Trey before -> to "Vibration Of Life."

Trey sustains a note for nearly 3 minutes letting Page and Fish shine. Altered lyrics referencing Leigh Fordham.

Straightforward, but some fantastic and crazy playing by Trey.

The first version to go deep. Game changer and features some excellent blues playing from Trey.

A rhythmic, staccato-like jam briefly emerges from the standard before shifting to a Trey-led, soaring and "HOSE"-filled finale. The jam finally settles and -> to "Swept Away."

Page solo > Trey guitar/vocal solo > Page on piano, Trey on guitar with crazy falsetto singing > klezmer > chanting.

Trey rips it up and closes the FIRST set in a fiery fashion!

A well played "Type I" jam morphs into a funky Page-led multiple keyboard show (with Trey on the mini percussion kit). At 16:10, Trey jumps back on guitar, leading a soaring jam which works back to "Gin" and -> to "Vibration of Life."

"Groove is in the Heart" jam.

> in from "DwD." After some nice melodic work from Trey, the jam hits on a riff and theme common in '96 versions. Beautiful, extended breakdown section follows prior to closing chords and > to "Maze."

After some solid but typical early play, Trey shifts to strumming chords in the middle section, nicely giving space to Mike. Page shines while jumping from piano to the B-3 as the power cranks up, and all four are in sync as they push the jam to a full power peak.

A magnificent and triumphant version. Check out the superb "Hood" from this show while you're at it.

Jam includes some unusual key modulation, then breaks into a Mike-led groove of sorts with building dissonance.

A mildly dissonant and tension-filled jam peaks, then after 8:00 breaks into a funky, rhythmic groove which builds intensity and -> to "Catapult."

A really excellent version that captures the sound of the band in Fall '96, including strong Page (who seems louder in the sound mix throughout much of '96), dynamic Fish, who increases the jam's intensity, and rocking Trey.

Lightning fast composed section, brimming with extra temerity. Speedy play extends into the jam, only the band, collectively, dials the sound way down, which makes for an interesting sonic juxtaposition. Notable full-band play informs this fun, quirky version, as Trey's solo builds voluminously, an…

Crazy spaced out intro. Sigourney Weaver is floating around this version somewhere. Page stars.

Strong jam.

-> in from "Free." The jam takes a very different and interesting direction than most before getting back to "Theme."

Very improvisational, exploratory version that leaves "DwD" in the dust after 7:00. Several sections to this high quality version which -> to "JJLC" and includes a closing of "DwD" (straightforward, 4:26 duration) later in the set.

Page solo > Trey on guitar/vocal with "Brady Bunch Theme" teases > Page piano with Fish on vacuum > klezmer > chanting.

A solid but straightforward "Tweezer" melts into a jam on Aerosmith's "Sweet Emotion," and from there into a reprise of "DwD" which was played earlier in this show.

Part of a fun and funky "Tweezer," Mike drives the band into a heavy and plusing "Sweet Emotion Jam." The real highlight here, however, just might be Trey's incredibly cool crossover from "Sweet Emotion" and -> into the rocking "Down With Disease" reprise…

-> in from "Sweet Emotion Jam." The preceding "Tweezer" and "Sweet Emotion Jam" fit nicely together with this "DwD" reprise, as if one cohesive piece of music. Following a big, exploratory "DwD" earlier in the set, this reprise version brings closure to a great sequence of music.

There is a really powerful psychedelic aspect to these '96 versions, and this one is a fine example.

No mini percussion kit here. Instead, Trey hits on a theme that the band jumps on and rocks. Wonderful version, remarkably different from most. -> to "Sparks."

Long jam segment; Trey broke a string.

A few, very minor glitches in The Chase and elsewhere, but otherwise the playing is intense and tight. How about a little Moog action in Clod? Page's piano solo later in Clod benefits from great backing from Trey, Mike and Fish. Arrival is powerful, driven by Mike and Fish, and by Trey's confident,…

After a cacophony of noisy effects, nice crescendo building by Trey and Page.

James Brown galore. Fish pretends to be James, tons of "Super Bad" riffs from Trey. Second jam is straight funk filth. You will laugh and dance.

Excellent discordant version greatly enhanced by Peter Apfelbaum's incendiary sax and some wicked counterpointing accompaniment from Trey.

Remarkable version which includes a unique slowed down intro and Peter Apfelbaum on tenor saxophone who takes over the soloing duties from Trey.

With Peter Apfelbaum on tenor sax.

A soulful set-closing instrumental played straight with Peter Apfelbaum on tenor saxophone and John McEuen on lap slide guitar.

Peter Apfelbaum on tenor saxophone and John McEuen on lap slide guitar. Sweet jam with back and forth between Trey and McEuen, then Apfelbaum takes the lead followed by Page on the organ and piano, and then they all rock out together.

Controlled chaos. Typical fierce jam segues into a cacaphonous hazey wall-of-sound soup, that in turn leads into a "type II" excursion with Trey on the mini-kit and Page, Mike and Fish wailing away. Ends in a truly INSANE, drawn-out way, too.

Extended, Trey-centric groove, featuring a wonderful theme, offset by scattershot playing, matched in equal measure by Fish. Really remarkable. Trey soon breaks to solo atop a passage of really cool and stately calm. Hushed and unhurried, Mike and Page offer wonderful accents as the band continues…

Strong '96 version with fantastic Trey playing as well predictably strong Page work. Big peak at the ending.

The 1st jam begins with some nice staccato-funk action, before slipping back to more conventional playing. The 2nd jam starts in rhythm and Page mode, with Trey on his favorite mini kit. He moves back to guitar quickly, and at 10:00, the jam starts to get a funky and rocking sense. The vibe and ene…

> in from "Mike's Song." Nice but typical (for '96 "Caspian") playing by Trey, but some fantastic Page and Page/Trey playing towards the end of the jam and > to "Sparkle."

Smooth Trey in the first jam gives way to staccato-filled second jam. Unique version. Blast off into "Llama".

Great B&D!! VJ based on donuts.

Nice bluesy swing in this version, patiently played out before the rousing finale.

A must-hear version for "Simple" fans, and part of a huge "Mike's Groove." A stretched-out but conventional version until after ~11:40 where the jam soars into a pulsing, upbeat groove that mostly (but gloriously) stays within the "Simple" harmonic structure.

Top notch "Hood" follows a stellar "Simple" as the "meat" of a fantastic "Mike's Groove." The jamming highlights include cool percussion in the intro, super Page, lots of syncopation, great power rocking, and a terrific peak.

Fantastic and fun jam begins with some early sounds of funk followed by a Page-led piano section. Next, Trey leads a couple of full-band stops, then the jam simmers down with a heavier dose of funk before exploding into a classic '96 peak.

Guest artists include Les Claypool, Larry LaLonde, Courtney Gains, the Yodeling Cowgirls, and several Elvis impersonators. One of the Elvis impersonators leads a "Susie Q" jam at the end of "Suzy."

Patience is a virtue, and this version is proof of that concept. The 1st jam is frankly below average by '96 standards, but the patient listener is rewarded by a 2nd jam that begins with some great rocking hose, and mellows to delicate Trey, Page and Mike interplay before -> to "Strange Design."

Page at the helm, as he leads the band first in funky breakdown jam, playing several of his toys including the Moog. Following a brief return to "Weekapaug," Page solos on piano in a manner akin to "Coil."

"YEM" -> to "Rotation Jam," an instrument-switching jam.

-> in from "YEM." This instrument-switching jam is performed during the "YEM" jam and > to "Sixteen Candles" with Mike on piano.

> in from "Rotation Jam." Mike sings and performs this 1950s pop hit solo on piano. > to the "YEM" vocal jam.

> in from "Sixteen Candles" for the "YEM" vocal jam.

Trey employs a warm, "watery" tone, to play with focused precision and remarkable restraint. Truly notable support from Page creates more of an open and spacious canvas of sound (as opposed to "jam"), whose principal characteristics stem from an organic, natural vibe. The version floats evenly and…

Very good version to be sure.

Page > Mike on bass > the whole band playing along > klezmer stops, Steven Wright rings bell, klezmer > bell, klezmer > bell, no Mike but straight transition to finale.

A nice extended settled section, some cool "Johnny B. Goode"-like strumming, and a rousing peak in this fun version.