The Jam Charts · phish.net's good stuff

At 10:35, a very good quality, quick tempo groove-based jam emerges. It settles some and returns to "DwD" to conclude.

Essentially straightforward, but the band nicely extends the ending jam segment by a few minutes.

Mesmerizing conglomeration of tesselation and coruscation. [Mellow groove with some spacey effects rolls along until 13:55, when the jam gets more rocking, then breaks into a fantastic and serene groove that swells and dissipates.]

An excellent rhythmic, snappy jam emerges with a lot of "DEG" and "Digital Delay Jam"-like sounds from Page and Trey at first (from about 8:30 - 11:00). Trey started the song in the wrong key (G) but asked Page to modulate to the key of A (the proper key) before his organ solo.

A different version with a relaxed, toned-down feel throughout, but it is also deftly played with near precision.

Atypically improvisational must-hear monster.

Winning fans in Japan. This huge first-set-closing version raises hell and ends, but then there's a second ending that concludes cacophonously.

Atypically slow but monstrously improvisational version that has several peaks and valleys before speeding-up and concluding in a melodic, triumphant, must-fucking-hear manner.

Ending jam segment stretches the limits of the basic jam with some nice rhythmic variation, but still stays "in bounds."

Deeeep, funky jam/groove, and the return of the B&D segment!

A very upbeat groove develops and grows more intense as it progresses. Eventually the jam becomes more subdued before rebuilding with spacey effects and returning to "DwD" to conclude.

Beginning with a style and sound so typical of '00, the band then twists this jam into a bleak, nightmarish soundscape. From there, it breaks into a decent groove before finally succumbing to space.

After the initial bass solo, Mike and Fish lay down a really great groove for Trey and Page to play off.

A very serene, ethereal but structurally straightforward version, with the volume almost inaudibly low in the final minutes. Quite similar in vibe to much of the highly acclaimed show from the following day.

Very slow, very patient, extraordinarily soulful version.

The jam in "Mike's" often became heavily groove oriented in 2000. Here, the band locks into a stormy and brooding Mike-led jam, which becomes increasingly rocking and powerful.

The jam gets into a nice, low-key "Type I" groove with great Mike and Fish, followed by a spirited conclusion when it shifts back to the "Weekapaug" standard.

Jam begins in customary skull rattling mode, but then breaks into a nice groove laid down by Mike and Fish.

Very serene and mellow version from a highly regarded show.

Jam starts spacey before finding its groove. They ride it out before Mike picks up the pace with Fish quickly responding. Trey plays some heavy rock and roll chords before they segue into "Llama".

With a rolling, funky groove that stays close to the standard structure, this is the first truly jammed-out version that sets up nicely for a 35 minute "Twist." Lots of improvisation within a narrow groove.

MUST-HEAR 2-part "Twist." Part I ("Twist" 18:01) departs into a beautiful and peaceful groove at 5:30. The tension builds, then recedes back to serene bliss before returning to "Twist." Part II ("Jam" 16:20) begins with eerie and spacey effects, then gradually builds into an intergalactic groove th…

Part II ("Jam") of a MUST-HEAR, 34 minute "Twist" begins with eerie and spacey effects, then gradually builds into an intergalactic groove that gets better and better and -> to "Walk Away."

-> in from an incredible "Twist" > "Jam" combo. The outro of the typical version morphs into more serene, unprecedented, and intergalactic improvisation. Very gradually, this unique jamming builds some energy, rolling percussion, and blasts off (->) to "2001."

Trippy intro from "Walk Away". This "2001" is all killer and no filler. Liquid Nitrogen Mike mixes with the rest of band and spits out fire.

The jam portion is straightforward, but slowed to a really pleasant, mellow groove.

Generally patient deconstruction of the "Ghost" theme that veers into Albany "YEM" ("Oh Happy Day") jamspace for a few then resolves to glorious peak that leaves you asking "Why doesn't Phish jam the fuck out of songs in the first set ever anymore?" [A quality '00-style "Ghost" groove rolls along,…

The jam breaks into a nice rhythmic groove around 11:40, with great Fish and Mike. Around 18:00, Trey jumps to the keyboards, and then it gets, well, weird. Similar to 12/12/95, it's very exploratory, but perhaps not transcendent music.

Very odd, atypical Trey noodling in the jam. Weird version to be sure. The B&D starts up meekly, but then dies out to nothing quickly. And eventually out of the nothing (silence), there's barely audible vocal jamming, that increases in volume... and they end the VJ by harmonizing on the word "Puppi…

Great show opening version settles into a relaxed, groove-like section while retaining the "LxL" vibe. The jam then patiently builds to a shredding, celebratory conclusion.

Excellent, multi-part "Jim." A serene yet percussive groove emerges first, followed by a transition with delay bombs dropping. Then Trey hits the mini-keyboard for a plunky, unusual jam before space and a -> to a very good "Theme."

-> in from "Runaway Jim." The jam has a very relaxed feel to it and some typical '00 sounds from Trey. At about 7:30, a droning, Fish and Gordon section begins. Trey adds some high pitched effects, and at 11:25, Page plays the chords signaling the impending conclusion. A gradual cycle…

Extended intro with awesome jazzy Mike and possibly a "Dog Log" tease. You might expect a really gentle, spacey jam given the year, but thanks to Fish, it has a really great pulse while also being delicate at first, swelling to nice peak.

Why many folks consider the "LxL" jam somewhat similar to The Grateful Dead's "Crazy Fingers." Trey soars in this version.

Scorching hot.

Swift and high-energy playing throughout. A clean, linear build in energy, from patient and quiet interplay between Page and Trey at the beginning, building with whale call bends and rotary swirl, finally ascending to a heavenly peak. Very happy and massive hose during the peak; spacey jam on the b…

An interesting jam which takes a more reserved, melodic route with Fish playing unaccompanied for a time as the band comes down to near silence briefly. The latter part of the jam includes some effects from Page and a nice ascending progression.

Robbie McCoury on banjo, Ronnie McCoury on mandolin, and Sam Bush on fiddle. "Hood" intro -> "Dog Faced Boy" > "Hood." Unfortunately the AUD recording does not do justice to this cool instrumental arrangement. KS - Live Bait Vol. ?

-> in from the intro to "Hood." Robbie McCoury on banjo, Ronnie McCoury on mandolin and Sam Bush on fiddle. "Dog Faced Boy" is played in entirety in the intro. > back to "Hood."

> in from "Dog Faced Boy." This great "Hood" now launches, but the AUD recording does not do justice to the great and different instrumentation.

EXCELLENT jam segment.

Sticks pretty close to the typical format, but the band really stretches this one out patiently, without a hint at all of feeling eager to get to the next song.

This is your '00-style "Type I" HOSE jam. A great upbeat version, the tone and sound of this "Gin" is markedly different from other standout "Type I" versions like 11/20/98 and 9/12/99. Released on Live Bait Vol. 8.

A classic '00 version in every sense, this "Farmhouse" serves as a foil for the 9/28/99 version, and features a much more mellow, restrained yet interesting jam including some cool repetitive riffs from Trey near the conclusion.

Trey plays a spry, gentle solo that starts off lilting and pretty and then speeds up without ever losing its light feel. The version also has a nice vocal reprise and a decent outro.

Show opener, and the longest "Moma" of "1.0." The jam segment is excellent at times but also gets a bit repetitive, especially toward the end. Nevertheless a noteworthy version.

Courtesy of user @lizardwithaz: Patience is the key to this Tweezer, as Trey immediately gets a siren echo going and a commanding Mike takes over a laid-back soundscape, and doesn't let up. Once the band finds a groove and the siren loops drop out, Trey finds his way fully into the jam and guides t…

With some really beautiful and delicate major mode jamming midway through, this "SOAM" ventures into a blissful landscape unusual for this song, before eventually returning home to familiar ground.

Starts with cacophonous siren loops, then collapses into a long, languid take on the tune, before dying away in a church-like hush. Longest version to date.

Fish adeptly intensifies the percussive effects to compliment Trey's very spirited soloing.

Excellent and exultant "Gin." The jam breaks into a funky groove that grows increasingly rocking and uplifting. Though it never gets far removed from "Gin" proper, the jam has magical, spirit-moving power.

Magnificent set-closing version.

Another strong summer '00 straightforward "Gotta Jibboo," which ebbs and flows like the best of them. Tightly played, and the band doesn't hold back anything from its bag of tricks.

Bad ass dark and stormy groove-based jam which eventually comes to a complete stop, pauses for more than a few, and resumes right where it left off.

Very solid with excellent playing by Trey. The intensity modulates up and down in the jam, with two enormous peaks.

Great version with an upbeat, pulsing jam that morphs into a celebratory, "Gin"-on-steroids-like section that segues seamlessly into "Rock And Roll."

"A Love Supreme" tease. Around 7:50, the jam migrates away from "Birds" into a deep and somewhat dark groove-based jam. Unfinished with solid -> to "Catapult."

Dark jam with Trey on the keyboard for a good portion and effects/loops throughout.

Short but very powerful.

Trey's agitated, high pitched playing in the latter part of the jam sounds like a jet airplane throttling up for takeoff.

Nice jam with good bass work from Mike that sounds similar to "Sand." The energy level really picks up in the final few minutes as Trey kicks into high gear. "Things That Make You Go Hmmm" tease by Mike.

> in from "Halley's Comet." Great version where the band explores and improvises with the basic "Mango" theme in a greatly extended outro jam that transitions to "Twist."

Relatively rote yet impassioned play begins to build, and build (check out the fan reaction around 8:08), as Trey trills, slashes, and powers the version to a blistering peak. This yields to cool riffing, with Mike and Fish locking in to form a fun run with Trey augmenting his tone before, with Pag…

Sleek bullet train jumps the tracks at the top of a steep grade escapes Earth's gravitational pull and goes supernova as it nears light speed. [A quick-tempo "Ghost" jam acelerates even further, Trey shreds amidst uniquely '00 sounds, and then the jam gets crazed before blasting off into outer spac…

Incredible journey of improvisation. Very far ranging, the last 10 minutes are thrilling and intense.

Beautifully played version that has that unique '00 dreamy feel to it. > to "Sand."

Groovy funk jam with a stop-on-a-dime ending and a brief reprise of the jam to end the song. The "Die" effect heard in the 9/29/99 "2001" also makes an appearance.

The longest and most expansive "Gotta Jibboo" to date. At first, there is standard "Jibboo" tension-release playing, followed by a passage of rhythmic complexity propelled by Fish's wood blocks. This section eventually shifts to a celebratory hose passage which culminates in a breathtaking peak; th…

In from -> "Gotta Jibboo," the hard rocking vibe swells and recedes, leaving in its wake an ambient space from which the band miraculously builds towards -> "Magilla."

A surprise version emerges from "Saw it Again," with Page on his keyboard before breaking for his acoustic piano. The traditional sound emerges, with Trey particularly strong, plus drum and bass breakdowns.

A powerful and somewhat ominous groove-based jam emerges from the standard. Released on Live Bait Vol. 4.

Very cool version with a series of peaks. You keep thinking, that's gotta be it. But then it keeps going. Excellent.

Huge show-opener featuring focused, pretty play, and the interesting sort of innovation associated with 2000 jamming. In lieu of pursuing a "peak," the band plays patiently, deft musicianship on full display, Trey in particular working through a number of ideas and really incredible effects (see: 1…

Trey tears into the jam segment and never lets up. First of a few versions in this very rocking style from 2000. "Tweezer Reprise"-esque playing around 9:40.

Hypnotic, repetitive jam that leads into vocal jamming (no final WUDMTF lyrics).

Jam departs somewhat from the typical direction, but is interesting and well-played. Unfinished with transition to "2001."

First minute is must hear. Second jam has enough energy and funk to look illegal and be searched at the border.

This one breaks very quickly out of standard raging "Piper" mode into a classic '00, Mike and Page led groove-based jam.

Real tight groove, with no one member leading.

A completely different style of play, reflecting the sound of 1999 and 2000. Anything but hard rocking, it's graceful, emotive music, with Mike, Page and Fish leading the way.

Stays "type I" but rocks exceptionally well.

Like 4/5/98, there is a -> to "Shafty," but here it's in the middle of Trey's solo, and then there is a -> back to "Maze."

-> in from "Maze." The first serving of a "Shafty" sandwich (4/5/98) was open-faced. This one has "Maze" on both sides. -> back to "Maze."

-> in from "Shafty" to complete this cool and unusual version of "Maze."

Polyrhythmic wormhole to 1995 which switches gears toward a wide droning gyre ornamented with spirals and dimensional flanging and a vaguely tubular resolution. [A haunting version which breaks into a distinctive dark groove at 9:00 and stays there, with little of the typically blissful jamming ass…

Super-charged "Type I" bridge jam between verses leads to pulsing groove typical of many '00 "Pipers." Great segue into "Rock and Roll."

Segues nicely into "Walk Away."

A very cool jam with great Fish and Mike in this upbeat, funky version that transitions into "Chalkdust Torture Reprise."

Fun little ditty, and very unlike big brother "CDT" makes only its second appearance ever, transitioning in through a series of stops at the end of a funky version of "Drowned." The third and final version (so far) of "CDT Reprise" was played as final encore (following…

Raging version follows the extremely rare appearance (2nd performance ever) of "Chalk Dust Torture Reprise."

A quintessential version of "2001" that kicks off an all-timer of a second set. No "Moby Dick" teases needed, Trey and Mike are killer in the second jam.

Begins with Trey on the mini keyboard before he locks into a melody on the guitar.

Sure it's all "Type I," but this is a very well played, straight out rocking version.

A typically high octane '00 version with an insanely intense jam between verses settles into quick tempo, intense groove. Things gradually settle down, followed by some quieter play with good Mike/Fish teaming and spacey effects from Page and Trey.

Fishman kicks off the jamming courtesy of wood block hits, and a tight groove yields way to upbeat Clavinet work from Page. Around 7:00 the groove becomes sparser and begins to evolve, culminating at 9:15 where the jam gives way to a gentle ambient bed. As noted by @suprstevie, the conclusion is ex…

More similar to pre-'97 versions with driving percussion and intense guitar work. A raging storm.

While shorter, this one has a stronger peak than most with lots of classic Trey/Page interplay - definitely a top-shelf "Gotta Jibboo."

Interesting version in which Trey strums chords during the build-up rather than striking individual notes (as is customary).

Awesome yin yang version. The 1st jam is a rocking, intense incendiary groove, while the 2nd is its serene, blissful and introspective foil. This version was the last "Mike's" to feature a significant 2nd jam until 2015.

Another big and rocking groove-based jam that neatly -> into "While My Guitar Gently Weeps."

This jam is why some people hate jambands. A noodle factory. (but I still dig it) The jam just segues into the VJ (no WUDMTF lyrics). (No B&D.)

An ambient jam develops by > on the back end of "Gin," and includes Fish on vacuum and Trey on drums. > to "Zero."

A ghoulish sounding outro with delay bombs and no "Myfe" ending -> to a short "Jam" which continues the eerie jamming.

-> in "My Friend, My Friend." A short, ghostly and eerie jam is tacked on the back of "My Friend" and > to "Gumbo."

Another very tight full-band groove.

Great Mike and Page in a version that opens up the jam section to interpretation rather than static melodic repetition.

Gorgeous Trey/Page interplay in the beginning of the jam; a nice, clean, somewhat straightforward build to a massive but abbreviated peak.

> from "The Curtain" with Michael Ray on trumpet and includes a "First Tube" tease. Ambient space jam before Michael Ray joins in.

Following some odd, onstage antics, Michael Ray, already on trumpet, moves from "Makisupa" > "CTB," adding extra oomph to the song's choice set changes, before the band breaks for an excellent "Funky Bitch." (Stick around for his contributions on show encore "Hood.")

With Michael Ray on trumpet!

Typically upbeat, rhythm-oriented jam, but Page's solo is extended, with the band almost breaking into a groove, and there are several nice stop/start moments. Covers a lot of ground without ever moving beyond the "Ya Mar" format.

A solid, extended version.

Ferocious initial jamming leads to a repetitive and funky exploration with a Mike/Fish-led groove similar to "Sand."

Segues out of "Piper." Ends with a really cool little Mike-led jamlet (which doesn't have too much to do with "WTU?," honestly) and > into "YEM".

A rare set closing version, the band immediately gets into a brooding, droning, trance-inducing stomp, with Page adding some shimmering, cosmic layers on the high end. The band starts toying with a more arrhythmic idea, and maintain the evil energy and the strange bop even during the post "BLAT BOO…

A very rhythmic Fish and Mike led groove springs out of the customarily intense "Type I" section. Trey adds some spacey effects before bringing it back to close, followed by some transition space and a > to "Heavy Things."

Don't be fooled by the duration. Despite its brevity, the band sets a quick tempo, but largely dark groove, and Mike is the champ on this one. Trey's playing is classic Y2K style, sitting nicely atop Mike's out-front bass lines.

Trey breaks from a subdued, melodic groove, to enter a space within which dramatic sustain, coupled with a warped, almost melancholic tone, creates something like a sad, mournful, mood. A strange version, both powerful and restrained.

Liquid metallic space rage.

The band breaks into a fantastic rhythmic and slightly funky jam after the second verse which continues until 8:00. Following the final verse and customary conclusion, the band continues on, > to "Jam," an awesome "Suzy"-like set closing improv session.

Although the jam travels within a narrow band musically, there are a lot of subtleties that make this one a real standout. Fish is awesome!

Phenomenal masterpiece of improvisation that is largely Page, Mike and Fish directed. One of the more challenging jams to appreciate, it may take several listens to fully sink in. But it's well worth the effort to get your arms and head around this magnum opus that transitions (>) to "Crosseyed And…

Quite the treat considering it is smoothly segued into out of a 30 minute "Drowned!" This is a nice spacier exploration of "Crosseyed." Nice interplay from all band members.

Trey adds effects to his sound which enhance the swirly quality, contrasted with Page who is very grounded on the piano. Mike and Fish keep it cranked up. > to "Loving Cup."

Incredible show of force! Bonus outro-jam taboot!

Fishman's tempo driven percussion work moves this dark other-worldly spacious jam along.

This incredible jam begins with fast-paced funk, while the jam reprise moves into type 2 territory with a space groove before reaching a rocking climax. > into "When the Circus Comes". Longest Tube to date.

See Tube Jamming Chart.

Compared to the well-known bustout version from Deer Creek in 2000, this version features much better execution in The Curtain and a more competent delivery in the With jam. Trey's use of the Leslie during the early, "Rift" part of With is a cool plus, and the band coalesces nicely from there, for…

> in from "R&R." At about 8:45, shifts away from "Theme" proper into Mike led, low key, pulsing groove. Some nice, subtle Page and Trey fills in this jam. All of a sudden, Fish and Mike shift gears with a great -> to "Dog Log."

> in from a great "Theme From The Bottom" -> "Dog Log" pairing. Following an extended, straightforward outro, this improvisational version morphs into a rhythmic and pulsing groove that grows increasingly effects laden and eerie, before transitioning to "Free."

Very improvisational version. Trey adds nicely to the basic outro, then the group moves on to a bluesy swing, swirling '00 funk, some rhythmic jamming, and a spacey transition with a -> to "Twist."

Trey deploys the Leslie, evoking shades of a '95 "Slave," a bit of an anachronism pleasantly befitting '00. The jam provides a welcome cool down, featuring great and extended Page soloing augmented by Trey, who leads the band through an outro notable for an additional ambient pasage.

A raging rockfest loaded with liquid metallic sounds for most of this jam, before finally unwinding in the final minutes.

Page's solo is excellent, but also atypically unhurried and gentle. Trey matches this sentiment initially, before the whole band cranks it up for the show capping finale.

Extended release, almost a groove-based hose jam emerges from the post-funk section. Good '00 sounds near the end.

Pure, unadulterated, straight-on HOSE!!! This one is for fans of the standard "Gotta Jibboo" vamp-based jamming, that just continues to peak with swirling intensity.

Extended jam that is markedly different from the typical Page-led jam. A spacey, rambling jam, but worth a listen. Unfinished.

An upbeat groove-based jam develops with building intensity leading to the return to "DwD" to close.

The last Tube before the hiatus begins with Trey using effects while the rest of the band grooves along. Picks up steam in the second half of the jam and ends with Trey playing similar lines on the keyboard that he played on guitar earlier in the jam.

Similar to 7/6 in its ferocity. Even the first jam segment (2:47-4:11) is pretty hot! Excellent version.

Nice rocking vibe to the early part of this jam. Fish keeps the pulse nicely until the end when space overtakes rhythm.

Catchy, repetitive groove. "Sunshine of Your Love" tease at the end.

After 10:00, Fish leads a quick step foray with spacey effects and sounds compliments of Page and Trey. A nice pulsing groove emerges after 15:00 with delicate musing from Trey, Mike and Page. This good version suffers from poor recording quality; a soundboard release would be welcome.

The jam gets way beyond "Cities" into some very deep, quiet, and contemplative space. Regains some energy in the final four minutes and is must-hear for fans of groove-based jams.

Curious ending.

Another groove-based jam develops midway, this time led by Fish and Page, who add '00-style sound and color to the crisp rhythmic base.

Nice serene Page-led outro jam.

Very cool and well-played jam from this relatively unknown show. An excellent space funk groove!

Jam builds around the "Gumbo" riff before settling into a more subtle and subdued groove.

> in from "Ghost." Similar to 5/22/00 where the band extends the ending by several minutes, but sticks to "The Mango Song" melody.

Almost exactly 9 years since its debut, this version harkens back to the old style of intense, chaotic, and electrified jamming. A little swirling '00-style sound manages to creep into the mix. Great Mike and a great version!

After a few minutes of soloing, Trey gets into a demented, octaved-down, shred zone, and the band reciprocates with pulsating, demonic energy. Seek out video of this extended, metal-tinged version to see Trey workshopping his 'First Tube feedback sword-fighting moves' during the noisy outro which s…

The standard jam gives way at about 9:30 to a great Mike-led, bouncy groove that grows increasingly rocking and intense.

The last big "Moma" of 2000, played in the same powerful style as 7/6 and 9/23. Strong, rocking version.

A more ranging and interesting jam than any performed up until this date. It's also blissfully serene and delicate. All performances after these September '00 versions would feature much greater variation in the jam.

"She's dead. She died." A flub paves the way for both lyrical and musical improvisation, and "Esther" truly goes for a ride. A feeling of warmth and mirth, as opposed to anger or frustration, informs great, soulful jamming, which eventually breaks for a > into "Weekapaug Groove."

Not so much a groove jam as some excellent funky and rhythmic jamming with awesome playing by Mike and Fish. Has moments that recall the excellent "Suzy" from 9/14/00.

Big contrast to the 7/14/00 version as this jam has a more eerie, morose sentiment. An ominous cloud.

Extended, chaotic version with lots of effects-laden guitar as well as band introductions and some instructions from Trey for the audience.

-> from "Piper". Terrific '00 style space groove including Trey on the mini keyboard for a spell. -> to "When the Circus Comes".

Similar to 12/29/97 where there is a shift to major mode (at about 11:56) that continues for 3:00.

Good quality groove-based jam with nice modulation of intensity.

> Piper, Trey alights upon a cool, swinging riff, and the version rides this vibe, with on-point fills from Page, the jam not so much building as unfurling, a heavy sort of bass and drum stomp. Play then becomes outright weird when Page shifts to his keys and a moody, brooding, outro ensues, with T…

> from "Cities." Starts with a mellow, airy loop and Trey on the keyboard before he switches to guitar and gives the jam a boost with some great playing.

Power rhythm clinic from Trey. This baby rates very highly on the danceability scale. Grab your helmet.

Good version and the last one in "1.0."