The Jam Charts · phish.net's good stuff

A really nice break to major mode with good Page/Trey interplay smoothly works back to typically tension-filled "Stash."

A thunderous, powerful, exploratory and very improvisational jam breaks almost from the get go. After landing in uncharacteristically darker terrain, the jam finds brighter ground, ventures further astray, and finally winds its way back to the land of "Hood."

The typical "Type I" "Gin" jam continues through 10:30, then the chording and harmonics shift into quasi "Type II" jamming (quasi because Fish never really breaks the rhythm until this "Gin" grows spacey and transitional). > to an improvisational "LxL."

Improvisational version which begins to peel away from the standard as Trey and Page play unusual chords and harmonies to the base "LxL" rhythm, then makes a clean "Type II" break into a rhythmic, pulsing and somewhat dark jam. > to an impressive "Winterqueen."

Precise, delicate, and moving, very pretty play informs subdued jamming, featuring notable full-band interaction. Trey deftly shapes his tone, and the version becomes somewhat hypnotic and enchanting, with the musicians responding one to another before driving the jam to an expansive, emphatic peak.

The first improvisational "Fuego" works away from the song structure gradually, making a full break by 11:30 into some very nice, light and fluttery interplay. The intensity builds to a crescendo before smoothly sliding into "DwD."

The jam breaks into the now predictable major mode section in a quieter and relaxed manner, which then builds energy and power and -> to "Waves."

"Piper" is restored to some form of its former self, including an intro (short), bridge (short), and some good "Type I" jamming before breaking into "Type II" ground with nice rhythmic-based playing with strong Page, followed by a short Trey-led "hose" section.

Lots of Mike in the groovy jam segment (though there's no peak).

Mike gets down on this right away, Trey picks up quickly, and the whole jam locks in for several minutes.

Like the SPAC "Fuego" this jam begins with some quieter musings, followed by a couple of peaking sections. Then the jam turns rhythmic, funky, and almost jazz-like, with some nice Fish and Page, before finally dwindling to transition space.

This "Hood" has a really great early section, especially between 5:25 - 9:25, where Mike, Page and Trey have this wonderful 3-way musical conversation, while Fish scales the percussion down to a very subtle but key rhythmic foundation.

A far-ranging jam develops which initially shifts away from the standard around 4:30 to darker, minor mode play. From here, the jam briefly brightens, descends back into the twilight, then brightens considerably, before finally winding down with some rhythmic play.

Rearranged and redefined, this post-Halloween version--aka the "flown balls Wingsuit"--donning its now "traditional" form. Great full-band play (especially Fish) backs Trey's powerful soloing, which features dynamic modulation and a shift in pitch. Feels good.

The jam begins with some nice funky clav playing, normalizes, regains the funky legs, and features strong playing by Fish, as well as Trey, who deploys several guitar effects to alter his tone.

A high intensity "Type I" jam breaks away at 9:45 into some low-key exploration. Page adds color as he switches keyboards, and Trey reignites the intensity with some moderate "hose." Finally, the jam gradually ramps down, closing with a return to "Gin."

The jam breaks at 8:00 into some funky stretching, but Trey quickly seizes on a great riff, which the band coalesces around. As the boys bring the jam up to celebration mode, there is some brief "Woo" jamming before it settles to quieter play with great Page.

Those who believe in wormholes will shout "Timber" when they catch a chilling thrilling glimpse into a future haunted house during the early moments of this quarter speed heartbreaker that evolves into a twirling fountain of incandescent sparks passes through a cyclotron and emerges as a multi-dime…

Rising from "Ghost's" super spacey >, Trey takes us higher still, his patient soloing inspired and emotive, complimented by Fish's shuffling, upbeat drumming. An early example of the song's potential all but fully realized.

For the 2nd time in 2014, the band takes "Harry" for a ride into uncharted waters. This time, while Trey and Page alter the harmony away from the familiar, Fish keeps a steady hand on the rudder, eventually guiding the ship safely back to home port.

A nice "old school" version with good dissonance and tension building, and also has some cool chanting by Trey and others towards the end (very '93 - '94ish).

A fantastic, improvisational and exploratory "CDT" that stands very comfortably with the best "CDTs" from any year or era of Phish. Must-hear material, the jam includes multiple sections, with each building smoothly and cohesively to the next.

Near the 8:30 mark the band really keys in on the jam and Trey absolutley takes off for hyperspace at 10:00 for an amazing, albeit brief, crescendo.

Slow, steady, melodic climb to a triumphant peak, and then an old school ending with a few twists.

What a difference an era makes. Or not. Mike surprises, early on, offering just a bit more. Pushing through a few sour notes, Trey, playing with his feet almost as much as his hands, lays into an impassioned solo, offset by, no surprise, on-point Fish. Of course Page is nearly front and center,…

A nice jam departs the standard, moving into some darkish probing. Gradually, the jam builds into a more upbeat groove, but with exploratory moments interspersed, included some great funky Mike and Page teaming, and a Trey and Fish-led rocking ending section.

Dubbed "Fuegolope," there's a lot more to this strong "Type I" version than just teases, including a nice quiet section that builds with dissonance and tension to a fiery conclusion.

Another "Ice" with a solid, funky and rocking jam. Alas, Trey has a bit of trouble transitioning out of the jam and back to the closing section.

Resembles a lot of the better versions from '89 - '91, when the "Possum" jam typically included some quieter play and "Type I" exploration, before shifting gears to the high energy finish. The peak could be better here, but still a fine version.

Fish keeps this jam in high gear as it alternates between segments of funky and upbeat jamming until a wave of ambient effects are introduced around the 15 minute mark and concludes with a > to "The Mango Song."

"Wombat" goes for its first big ride, leaving the formal song structure behind around 5:00 and breaking into some light and contemplative play. The pace picks up and the intensity gradually increases, before -> to "CDT."

A stunning "Type I" version: Page teases "Dirt," then Trey takes the helm joined by Mike, who adds some thunderous double-time riffs which Fish echoes, all leading to a great peak.

"Harry" once again proves to be the improbable choice for exploratory jamming. This time, the band begins the jam in minor mode, works up to a rocking fury, and finally settles back for a traditional "Hood" closing.

Rocking Page solo > weird spacey Trey section > all 4 band members on Fish's drums and Marimba Lumina > klezmer > weird chanting by Mike and others > ending.

At 5:45 the jam moves beyond the standard into medium intensity, rhythmic and mildly funky play. The funk builds, then the jam shifts to an uplifting melodic section which sounds similar to "Paradise City" and/or "Roll With the Changes" before actually returning to the customary closing.

Swirling Samurai with a Sawzall wields the power blade on a scintillating space disco mirror ball. [A really solid, rocking and improvisational version features great playing by all four, especially Mike. Little of this jam sounds anything like "Ghost." -> to "Weekapaug."]

The jam has a more relaxed vibe than most. A bit of pitch shifting by Trey, which was an issue on 2014 versions. The ending segment is extended as well.

Although Fish keeps the rhythm firmly tied to the basic "CDT" rhythm throughout, Trey and the others explore a lot of varied themes, sounds and motifs within this structure.

Another strong version, but this one is all about Trey, who deftly winds the melody and chords beautifully at the peak.

Similar to the version from 10/22/10, this "Carini" shifts and changes form again and again and again. Just when they seem to settle on a groove, it's morphed anew.

"Ain't Nothing But a Good Time!" [A strong and atypical jam is loaded with positive vibes and rocking, feel-good sentiments, before growing mildly dissonant and transitioning to "Steam."]

While not as exploratory as some from Summer '14, this "Hood" is by no means a typical. The jam includes great Trey licks, rocking chording, strong Mike and Page, and a solid peak.

Acting as the improvisational meat of a "Tweezer-fest", the jamming here takes on an uplifting, "TFTB"-esque vibe and then gets wonky and atonal before sliding into "Waiting All Night".

A funky outro emerges from "NICU" and morphs into "HYHU" in the midst of a historic set.

The jam has a brief major mode section, returns to the typical, then at 7:30 ventures into some good, semi-dissonant terrain which becomes more rocking before closing.

The jam has a really nice, low-key vibe, and in some ways is similar to a number of groove-based jams from '99 - '00. While covering much ground, the jam retains a relaxed sense.

Jam proceeds in standard fashion before breaking away and settling briefly. Then it regains energy, taking on a textured feel before dissipating.

Page immediately jumps to the clavinet, while Trey lays back, comping him nicely. Mike also helps to power this Page-led funk fest.

The jam breaks into a propulsive and somewhat dark groove at 9:00. This groove becomes more funk oriented as Page switches keyboards, then brightens in tone with some "Manteca"-like jamming near the end.

Following Trey's lead, breaks into an atypically funky jam at about 5 minutes and briefly intensifies before fading out and > to "Piper." "Fuego" tease.

The jam at first breaks into a rocking, percussive section with Page leading on the B-3. Then Trey grabs the reins briefly, before the jam settles and rebuilds, growing melodic at the end.

A very solid straightforward version with deft playing by Trey and great Page near the end.

Following some quality "Type I" playing, the jam veers away at 9:00, shifting to minor mode and exploring some quieter realms. At 12:40, the mode shifts back to major, and the jam builds to an inspired peak, followed by additional tension-filled exploration.

Short but sweet. The first jammed Gumbo since 7/22/03 hits a funky groove with Mike on synth and a nice little peak.

Excellent and improvisational "CDT" which shifts modes and themes multiple times and has an upward sloping sense of momentum and energy. Great -> to "Scents & Subtle Sounds."

The band has fun, as Trey plays duets with Mike, Fish, and Page. Then Mike plays the fight bell while Trey plays rhythm on the mike. Once fully back in "Hood," the jam breaks into minor mode, recalling the strong exploratory versions from earlier in the summer.

Closes out the "Lushington" gag. Whale call dominates the very strong and satisfying peak. Clean playing from the entire band effort that builds cleanly. Compact, but in no way short. Fans of this version should also check out 10/26/13.

A nice low-key and increasingly funky jam develops on the back end of "46 Days" proper.

The Rhythm Department gets the credit for propelling this jam beyond the standard and into a rocking and increasingly euphoric groove that recalls several standout '96 versions. Then Fish, Page and Mike drive the jam into a funky and rhythmic realm.

The typical "DwD" jam includes high energy and dissonant moments. Then the jam settles down and shifts into some soothing and cerebral grooving which -> to "What's The Use."

Dramatic -> out of "DwD."

The typically dissonant "Type I" jam shifts predictably to upbeat major mode fare, but then moves on to some solid and swinging less intense strumming action.

Some great Trey/Mike counterpoint early, then Trey plucks away quite nicely. As the energy builds, Trey adeptly strums chords before launching the final peaking section.

Some great and varied "Type I" jamming, including melodic playing by Trey, "Manteca"-like jamming from Page, and a cool Mike-led quiet section that builds anticipation for the peak.

One of those improvisational jams that seems to mode-shift and otherwise evolve and morph constantly. If you like the "Train Ride to Peaksville" type jam, you may want to pass on this.

After teasing "Tweezer" at the conclusion of the first jam segment, the music takes on a darkish tone and features staccato funk that becomes increasingly abstract until a > to "Piper."

The jam immediately breaks into rhythmic and percussive funk-infused groove, very different from the typical "Mike's" jam. While Trey and Page add good color, Fish and Mike are the real stars here, driving the basic groove. Near the end, Trey adds some "Manteca"-like melodies, and the jam then conc…

Fish and Mike provide an incredibly mellow groove, atop which Trey and Page exchange ideas. Laid back, the music does morph, becoming dynamic as the band modulates intensity, with the jam becoming even fuller in sound and more melodious. Trey ignites a charge and the version builds to a nice peak.

Debut.

Page takes the charge right out of the gate with some heavy clav work before dipping into a spacier jam. They build up into an eerie but up-tempo soundscape. Without reentering "Crosseyed" musically, Trey leads everyone back into a final vocal refrain while playing some absolutely crazy music under…

Trey sits back allowing Page to lead the first half of the jam until the groove turns upbeat around 6:45. From there, Trey increases his role and brings it home with melodic leads before the > to "BDTNL". A really nice, atypical version.

A very solid in-the-box version, with strong Page in particular. At moments, it even sounds like Page teases the piano outro from "Sweet Home Alabama."

A very nice jam which gradually works away from the standard. Fish keeps the rhythm largely grounded in "CDT" while the others explore an interesting, pleasant landscape.

First '14 version bears resemblance to several "CDTs" from Summer '14 which range widely, but never latch onto a consistent groove, although this ends in good dark terrain.

A typically fluid "Theme" jam takes a turn from the bottom to the side with an "Echoes"-like (Pink Floyd) jam, replete with Gilmour licks, before sliding and modulating seamlessly -> Steam.

A wild one. Page's solo is more of a crazed Page/Trey duet. Fish follows on Marimba Lumina with ghoulish howling by others > klezmer > weird Mike chanting > conclusion.

Like the Portsmouth "It's Ice", Page hops on the clavinet out of the gate, but this time Trey chips in some wah-scratching and Echoplex to this funky jam before sticking the landing.

This fun version starts with teases of "Low Rider" and "Long Tall Glasses" before accelerating into an energized "Type I" jam.

After extended and very pleasant "Type I" jamming, Mike and Trey drive the play down into some murky and atonal depths. Then this diseased ship gloriously resurfaces to a magnificent conclusion.

Amidst of sea of exploratory '14 versions, this fine one is a welcome reminder that the plain old "Hood" jam, when well executed as it is here, is pretty damn good stuff. Fish and Page are key in bringing up the energy and adding great color to the jam.

A very nice compact version which still manages to include some form of intro, bridge, second refrain, and a darkish and pulsating jam which has a '99 - '00 quality to it.

This concise version does not stray far from the basic framework, but Page and Trey play off each other before building to a rousing climax. After the climax, this jam settles back into the Seven Below theme.

An Echoplex masterpiece. The second jam will blow your mind. Page annihilates the clav and you can kiss gravity goodbye.

The jam begins at a less frenetic pace than usual, before Trey's delay work and minor chording lead the jam into uncharted territory. At the 9 minute mark, the jam goes fully "Type II," and then turns ambient before > to "Mountains In The Mist."

Excellent jam which veers away at 8:00 into a beautiful but contemplative Page and Trey-led foray of deep introspection. Wish they would jam like this more often!

Strong jam starts in "Hood" mode, shifts to rocking minor mode at 7:25, settles briefly at 9:25 before becoming percussive and groovy, and jumps back to "Hood" proper at 11:52 with great "Type I" interplay, ending with an extended spacey phase-out.

"We Are the Champions" sandwich to celebrate the hometown San Francisco Giants' World Series win from moments earlier.

Page and Trey in a rocking, guitar-accented piano showcase > ghoulish and spooky Halloween jamming > klezmer > weird chanting by Mike > conclusion.

Promising debut. Following Laura Olsher's narration, Phish explodes into arena rock, replete with full-tilt guitar histrionics.

Debut. Following Laura Olsher's narration and "screaming" sound effects, a plucky Trey leads the band into a jam that, prior to "Tube's" resurgence, would not have sounded out of place in a, well, "Tube" jam.

Debut closes the legendary Chilling, Thrilling Sounds of the Haunted House Halloween set. This version includes extensive use of vocal samples, many of which are tempo and pitch-shifted, sounding at times like a "YEM" vocal jam performed by hamsters. After a crunchy encounter with the hungry landin…

A multi-section winner, featuring extended funk jamming, a rocking peak with a "School's Out" tease, and a great -> into "Tweezer Reprise."

This version serves as the launching pad for one of the better sequences of songs from Fall 2014. It never turns into the full on shred fest that most expect out of this song. It sits on a loose funky groove based jam with some good synth work from Page. About 2/3's of the way through, Fishman esca…

While never departing "Twist" proper, this version includes "Lengthwise" and "Manteca" quotes, several "Manteca" teases, solid "Type I" play, and a cerebral ending transition.

A second and rocking section of strong "Type I" jamming helps to strengthen and elevate the build up and peak, giving this solid version a significant boost.

Strong "Type I" version with lots of amusing quoting from the previous night's "Martian Monster."

After some "CDT"-like musings, the jam shifts after 6:00 to melodic major mode playing. At 9:30, the jam moves to lower octave, funky and semi-dissonant play, which continues until 13:40 when the upbeat theme returns, starts to boil over, then recedes into "Piper."

A solid and "complete" version, breaking first to some growly, echo-filled play, which settles to a rhythmic foundation for Page and Trey to play off. At 7:45, the jam brightens in tone, but remains low intensity, then mellows further with quiet musings led by Page.

While there's no Trey-led jam nor even a Bass & Drums section, the full band contributes, especially Page, to a raging improvisation that culminates with everyone on drums before the vocal jam concludes the festivities.

A tall and tasty tropical sun splashed sugar rimmed whipped cream topped boat drink shared with old familiar friends provides the expected results. ["Ghost" jamming turns blissful, settles into serene, quieter musing, energizes and returns to "Ghost" before finally turning funky and spacey and > to…

A fresh and varied take on the typical "Theme" jam leads into a stop-start section that turns percussive before "The Birds" stylings lead the attack with a smooth -> Cities.

-> from "Theme", this "Cities" jam starts with some nice staccato work from Trey, passes through a Manteca-like section, and settles into the 3.0 Type II bliss zone.

This excellent version focuses less on samples and vocal manipulation, while integrating a more nuanced sense of dynamics. At around 6:00, the band creates a brooding psychedelic mood, which culminates with guitar loops sounding triumphantly over the bass bomb-enriched, final chord repetition. Once…

Beautifully-interactive melodic jam that soars for quite awhile!