The Jam Charts · phish.net's good stuff

A clean bridge!!! The jam that follows is melodic, varied, and interesting. Trey makes good use of the "allotted" jam space.

Laid-back and funky jamming abounds in this one (including a "Manteca" tease). > to "Twist."

Excellent "Type I" version with great variation and playing by Trey, and no flat notes taboot!

Jam starts out predictably enough, then surprisingly breaks into an upbeat major mode groove. Old school peak.

-> in from "Cities." Very solid and interesting "Bowie" that shifts back and forth between minor and major modes several times. Upbeat jam contrasts nicely with the more "classic" 12/28/12 version.

A chaotic atonal interlude from the standard jam gives way to a pulsating, reverberating major mode section that settles into a melodic space before -> to "Mango."

The jam settles down gradually, then Trey and Fish have a little back-and-forth jam, followed by a Page/Mike back-and-forth jam which -> cleanly to "Steam."

Perfect segue out of "46 Days." Powerful, popular version, yet that is also controversial, given Trey's heavy reliance on the Digitech Whammy pitch shifter to call entire schools and species of whales.

Begins with the usual Page-led funk on the clav, settles briefly, and picks back up with Trey leading the way. Later, Trey reverts to a rhythmic role as a second, different groove is explored before the closing guitar solo. Here's to more "Tubes" like this in the future. > to "Julius".

Very exploratory jam that contrasts sharply with the "old school" style 8/18/12 version. This one more closely resembles standouts from '96 - '04, and includes mode modulation. Messy closing section; needs practice.

Serious "HOSE"! Jam quickly breaks from the typically dark, throttling form into the now commonly upbeat, major mode style with good modulation of intensity. It then darkens in minor mode, lightens briefly and -> to "Architect."

Trey seems less interested in the typical type-I shred fest and more interested in a nice space funk jaunt. He sits back on rhythm, but his lack of presence in the lead position does not cause this jam to suffer. Gordon and Page bring a lot fresh ideas and deliver a jam that never lacks direction o…

Bizarre version. After swinging through the composed section, Trey augments his tone, and the pitch can easily be considered grating. But his playing remains distilled and deliberate, and, if nothing else, interesting. Any problems here, however, are offset by the others. Page is great. And Fish is…

Another good one with multiple minor/major mode shifts. There's also some nice rhythmic shifting and percussive coloring from Fish from 6:53 - 7:57.

All in all, a quality, multi-section jam. Mike, Page and Fish are strong throughout. If you can just mentally tone down Trey's frequent use of the pitch shifter, it's all good. > to "2001."

Page drives the jam into an outstanding peak in the final few minutes, and an excellent segue into "Cities" occurs with Fish playing the rhythm of the "Wedge."

Jam includes a nice modulation to major mode, and the boys bring it home well for a safe landing after the plane wreck at SPAC. Alas, Trey over-deploys the pitch shifter; otherwise a solid "SOAM."

This "Hood" is a very good one, with a strong building jam, great peak and good interplay by the band.

Much more of a rocking outro jam than the standard with solid Trey who develops a great riff.

Great, multi-section "Stash." Jam breaks to major mode (6:36) and returns. Then it grows funky and percussive (8:52), shifts again to major mode while staying funky (10:12), and then makes it way back to familiar territory.

Page solo > very nice Trey/Mike duet > then Fish busts out a new toy, the Marimba Lumina > klezmer > falsetto singing by Mike > conclusion.

Nice "old school" little rocking jam with Page on the B-3. It's been 10 years, really more like 17, or going back to 1996, since the band last played one of these rocking little jams, which add great flavor to an otherwise fully composed piece.

An amazing show of improvisation. Trey stays away from the whammy predominantly and the band engages in a stop/start jam that harkens back to the hey-hole-jams of the early 90's. Infectiously fun, and truly unlike any other version to date.

Although the jam is strong, there is no real peak...but at least Trey plays his guitar instead of his pitch shifter!

Short but good jam which breaks into a nice, snappy rhythmic groove, settles some, rebuilds and grows funky before -> to only the 2nd ever performance of Led Zeppelin's "Heartbreaker."

-> in from "Rock And Roll." Nice funky take on this Led Zeppelin tune follows a funky "Rock And Roll" jam. -> to "Makisupa."

Compact, but musically loaded version with major mode playing and quieter musings > to "Wilson."

Some very delicate playing by Trey and great teaming with Page in this solid, summertime version.

Very well played straightforward version with great Trey and Trey/Page interplay. Lacks the big '97/'98 peak, but still solid.

The Chairman of the Boards takes command on the B-3 in this propulsive and rocking version which packs a lot in 10 min.

The third appearance of "Energy" opens a rather (in)famous set and is the longest version so far. A bit of banter about the crowd sticking around in the rain finally gives way to the song. The jam begins and is a ball of frenzied, well, energy. The band locks in, Trey and Page have some great inter…

Some really beautiful, inspiring and upbeat jamming ("HOSE") darkens, gets punchy, and > to "2001."

Standard "Bowie" jam breaks and modulates between modes several times beginning at 7:47, ending in the expected minor mode with good tension and a solid trill section.

"Type I," but with added gusto, including great Mike/Trey teaming early, and then a big peak with strong Fish and Page.

The nearly 9 minutes of Type II work in this version changes directions frequently and covers a multitude of styles despite not flowing well at all times. It also hints at a -> to "Roggae" towards the end but ultimately > to "Twist" instead.

A great straightforward version of "Waves" provides a similar uplifting and spirit raising boost as a strong "Hood" or "Divided Sky" does. The soaring jam and delicate outro in this fine version from the Gorge underscores this point.

While mostly straightforward, there's some extra "Mango" in this solid version with great Page/Trey syncopated jamming.

Flawless -> from "Down With Disease." The jam goes "Type II" around 6:15 and moves into melodic territory. Featuring unique drumming from Fish, the band explores an open, loose segment that travels back and forth between quieter and more upbeat places before descending into…

-> in from "Light." Although largely "Type I" jamming, this is a solid rocking version with great instrumentation.

Very well played, mostly straightforward jam that has a nice settled section before rebuilding to a fiery conclusion.

A wild vocal jam of sorts launches the instrumental section into some very solid and rocking "Type I" playing.

A pretty locked-in version including funk, rock, and upbeat melodic jamming. > to "46 Days."

Nice funky and rocking section with great Mike emerges on the back side of the standard "46 Days" jam and > to "BORW."

Another nice little funky and rhythmic "Ice" jam with Page rocking on the B-3.

A very good "old school" "Stash," with a dark tone and real tension throughout, plus some dissonance and rhythmic shifts.

One of the most magnificently focused, sustained, and enchanting improvisations in Phish history, with several discrete sections, and audience participation taboot.

Excellent rocking and extended straightforward version.

Another great "Roggae" from SF, with strong melodic and instrumental variation. Just wish they would play this more often.

Quality exploratory version that succinctly covers a range of interesting territory before > to a compact, solid "Caspian."

This compact, quality version proves again that good melodic variation in a shorter version can trump the late '90s style 11 - 12 minute arena rockers. And when Trey holds a single note for 68 seconds, it allows the others to shine.

Arguably the finest straightforward version to date, this wonderful version is replete with all sorts of good stuff, including fantastic playing by Mike, great Page and Trey counterpoint, and a lush groove with a peaceful and upbeat sense.

A few flubs in the intro don't detract from this very energetic version from the first post-7/31/13 show, which incorporates three different calls for "woos" around some plinko-esque jamming and a good old-fashioned raveup at the end. Winds back into the regular -7 ending, then > into Theme.

By mixing up the melody of the jam more than in the past, the band is creating more interesting versions in less time. Nice!

A very strong "Type I" jam in "STFTFP," followed by an unusual, mildly disconcerting outro jam, which itself pairs oddly with low-key "Woo" responses from the audience.

A spirited Page section is followed by some rapid-fire playing by Trey in this quality 3.0 version.

All around, a rock solid version played with great intensity by all, including Page's vocals between verses.

Bad Ass Mike kicks off this dynamic, multi-section jam with some really sick bass work. From there, it ranges far and wide before settling into quieter, but active playing which then > to "Steam."

Excellent Trey solo and an extended, funky ending jam.

Really nice Mike/Page early, then Trey joins, and begins using combinations of short duration notes as the jam builds up.

Fish is the star here, adding just the right forcefullness to the percussion as the jam intensity grows.

Despite a couple of minor glitches in the composed section, all the good ingredients come together for a short, quality jam.

Thankfully, after a 10 year "hiatus," the band finally does something interesting with "Ya Mar," in this case, improvising a short little audience call-and-response ("Woo!") during Trey's solo.

Fish stands tall here, although musicianship is strong across the board in this quality version.

This version opens the second set, where the song is most commonly found. The jam stays mostly in the bounds of the song until it turns on a dime to a Fish-led jam, accented by excellent play from the rest of the band. > an excellent "Runaway Jim".

Excellent, multi-section "Jim." The jam begins with a dark tone, shifts to some great, percussive rocking midway through, then explores more bleak territory before reaching interplanetary space and > to "Carini."

Page solo > Fish playing Mike's bass with mallets > whole band drum solos > klezmer > chanting by Mike and conclusion.

Ground-breaking version that ushers in a new era of exploratory "Hoods." After some typical play, the jam turns rocking and percussive, including some "Woo" jamming. Things settle and the play becomes introspective and probing. Turning upbeat but with tension, the jam takes a final deep breath and…

Some very cool and unusual percussion in the jam, which breaks into major mode, then returns with good intensity.

Fish asserts himself strongly, a key element to a quality "Type I" "LxL," and Trey and Page mix it up very nicely.

> from "PYITE". Type II version that breaks form around 7:30 and continues on through sections of upbeat melodic playing, rock, and funk. All in all, another strong "Dick's Sand".

A very good "Type I" "Gin," thus related to other strong "Type I" versions like 8/17/97, 11/20/98, 9/12/99, and 6/23/00.

A very good quality, multi-sectional jam in this extended "CDT," and Fish is spectacular throughout. The jam ranges far, but also meanders at times; it also includes some "Woo!" audience interaction, like the "Tahoe Tweezer."

Page leads a solid full band jam on the B-3. And compared to 7/14/13, the transition back to "Ice" is clean.

A good "Carini" with the now familiar mode shift mid jam. However, the band seems to grapple with where to take the jam from about 6:24 - 9:30, until gaining some good traction and a nice upbeat groove in the final minutes.

A very good "Caspian." At first, Trey uses a "watery" effect with his guitar that sounds very '95. Then the jam breaks into a great rocking and upbeat groove that > to "Piper."

At 7:10, the jam breaks into a nice groove that turns 3.0-style ambient and subtle and > to "Free."

The jam builds to a peak, seemingly to conclude, then settles briefly before rebuilding to a second peak.

Fantastic, multi-section version in which Page is clearly the superstar, on the B-3 and teaming with Mike early, jumping to piano for some melodic "HOSE" with Trey, and downshifting to great funk action with Mike.

Features a surprising rhythm-based section with Trey joining in on drums and Mike playing his fight bell with drumsticks. Worth hearing for this journey "outside the box" alone.

The boys do a nice job of driving this "Train" up and over a serious peak, taking several blissful minutes in so doing.

Exceptional, diverse "type II" action, ending in a mellow, spacey haze.

> in from "Tweezer" as the second half in a pair of phenomenal jams. The usual funk-rock elements are present, but the jam gets taken to another level when it bleeds into an intense, psychedelic ambience. Fishman on Marimba Lumina. > to "Piper."

A breakdown truly worthy of the mothership. Mike yet again inspires greatness and Trey answers with some Echoplex love. Tip your bass player.

Page solo > Fish on Marimba Lumina in a weird but cool and spacey jam > klezmer > "old school" chanting by Mike > end.

Standard Gumbo but a great, funky clav outro from Page.

A very solid version all around which includes an unusual vocal jam type ending, setting up nicely for "I Didn't Know."

The "Twist" jam itself includes some nice playing by Mike and Page. Then at 6:30 the jam breaks into some mellifluous, semi-"HOSE," which settles down into thoughtful space before rebuilding energy and then cyling down to end.

Following a strong "Twist," this heartfelt rendering of "Wading" provides a graceful interlude before a powerful "Hood."

Early in the jam, the band pays homage to the great Worcester '10 version. After some quieter musing, the jam picks up a really great head of steam and peaks in an exultant and powerful manner.

The second jam swells to blissful heights once, recedes, then builds to a Freedom Rock peak, finally crashing into Carini.

Solid jam that retains a dark sentiment throughout, and is also infused with great staccato, funk, and rhythmic playing.

High quality "Type I" version with spirited soloing by Trey and strong Page backing. > to "Ghost."

A quality multi-section jam emerges. A quiet spacey section breaks first, followed by punchy and rocking playing with an "Oye Como Va"-like vibe. From there, a nice dose of 3.0-style "HOSE" develops and > to "Light."

An excellent jam breaks from the "Light" at 8:00 into a funky and rhythmic groove. The melodic content gradually increases, Fish add "Hey" vocal interjections, and Mike's bass takes the con.

Slightly extended outro with nice melodic contributions from Mike. > to "Maze".

Fish, Page and Mike really crank the tension up during Trey's solo, combining for a fiery peak to this "Maze."

Overrated by your friends, this version captivates with brilliantly melodic soloing by Trey for several minutes, before flaking out a bit, and becoming aimless. (Still worth your while to hear to be sure.)

Ferocious start-to-finish, with magnificent accompaniment by Page, Mike and Fish as Trey solos.

Trey changes the soundscape to this constantly. Second jam is a funk Echoplex exploration. Band takes all kinds of chances here.

The jam has a really nice and gentle beginning, with almost a late-'90s vibe, then builds to a solid peak.

An excellent, multi-section jam begins dark and stormy, then starts grooving in a very upbeat manner with growing energy. After letting the "HOSE" run for several minutes, the jam methodically cycles down.

The jam breaks away from the standard around 7:45, passing through a "The Birds"-like jam before becoming funky and rocking with some great Page B-3 action. The jam brightens in sentiment briefly before > to "Piper."

Intricate jam segment where the band members play off each other quite well, and a decent peak to the jam.

Excellent short "Stash" with mounting tension. Like a '93 or '94 version!

Debut of the song leads off the "musical costume from the future" set at this Halloween show.

Debut. First version hints at future jamming potential for "Fuego."

Debut with "Abe Vigoda" and the Abe Vigoda Dancers.

Phish debut includes Page nicely jumping around from the Fender-Rhodes to the B-3 to the piano, and a rock driven jam from Trey.

Serious heavyweight version kicks off with rhythmic and swirling playing. The jam brightens for a stretch, then IT builds and builds as the "HOSE" is turned on. Finally the jam recedes delicately as the spigot is turned to "off."

A quality "old school" version with a lot of good "Type I" variation in the jamming, building up to an intense peak.

The jam breaks away at 6:15, growing melodic and upbeat. Mike adds some great bass effects before a euphoric groove emerges. Then a fun "Under Pressure" jam develops, followed by beautiful low-key jamming.

Another fun, funky version with "Kush" and "Bush" chanting, lots of weirdness, and a few genuinely musically impressive passages interspersed here and there.

> from "Meatstick". There's some extra funky mustard on this one and it also includes alternate lyrics referencing bush and kush, as well as a tease of the "Theme from the Rockford Files." Ends with a > to "The Wedge".

A solid and funkified breakdown jam follows a good vocal jam and includes Trey banter near the ending.

As a standard "Theme" jam draws to a close, it morphs into a jam on the "Theme From Shaft" with amusing banter from Trey and Fish. Some good funky jamming follows the banter before returning to "Theme" to end.

The jam breaks into a good percussive and rocking groove, then it lightens and brightens, re-energizes, and -> to "Piper."

A delicate and beautifully played version with a dreamy quality to it, but which also builds to a powerful peak. > to "Waves."

Very repetitive, melodic, spirited, funky jam... check. this. OUT!

A great "Wolfman's" which, while essentially straightforward structurally, includes some excellent and rocking playing by all four before a typically strong release section.

A typical "Sand" jam ensues before shifting to some ambience and then locking onto a repetitious riff from Trey. > to "Piper."

Among the finest versions to date, Trey's Echoplex adds extra power to the jam, which also features great playing from Page, weird shouts from Fish, and monstrous energy all throughout.

This one has a bad-ass "Ice" jam with some wild and rocking playing by all four. It almost sounds like some of the crazy versions from Spring '94 and also makes a nice clean return to "It's Ice."

Another clavinet-led outro, but with added mind-scrambling from Trey.

Great version which rocks along in familiar territory before becoming deep, dark and thought-provoking. The jam lightens in sentiment around 12:00, breaks into a power-rocking groove and makes a stately return to "DwD" to close.

> in from "DwD" (only the 2nd time ever). A very good exploratory jam that retains a largely dark sentiment throughout, features great playing by Mike and Page, and concludes with brief "Woo" jamming.

Extended, multi-section "CDT" which sticks close to the standard at first, settles a bit, then gathers up into some serious and fiery rocking.

Essentially straightforward, but the outro jam is a little different than the norm, is nicely played, and includes teases of "The Line," "Fuego," and "Magilla" from Page.

Back on the bus, pretty, direct, and straightforward play makes this "Reba" a highlight of a career moment. As usual, Fish is great, shuffling through various tempos and rhythmic shifts. Mike bounces around the room, and Page is particularly on point, his play lilting and airy. Trey opts for patien…

Exceedingly good version. As with most of the 2013 Holiday Run the version itself doesn't stand out with noticable highlights, but the entire version is well above average. Focused throughout with a great peak.