The Jam Charts · phish.net's good stuff

Includes an additional segment of solid Type I jamming and teases of "Stash", "STFTFP", and "HMPAY".

Trey thankfully abandons the typically atonal, dissonant "Type I" jam in favor of a more melodic and rock-oriented approach. Then Mike leads some solidly mellow grooving, before Fish steps it up into more rhythmic, percussive play. Trey hints at a peaking bliss finale, but instead sticks to the Fis…

With thrilling, melodic contributions from each band member, this version requires repeated listenings to fully appreciate, and peaks wondrously well.

Strong peaking action in the first jam and then some growly, staccato funk in the second segment, which ultimately -> into "Ghost" stupendously.

After a stretch of perfunctory versions, "Cities" has now gone four for its last four. A laid back tropical vibe yields to a stormy, foreboding jam, before the sun peeks through the clouds and the -> Light grows brighter.

The early part of the jam includes great interplay and soloing by Trey. The gradual, but deliberate and well executed peak reminds us that a strong but plain ol' "Harry" is pretty spectacular in his own right.

One of the few recent renditions of "Moma" that (fittingly) sails to new seas. There's some especially spry, melodic playing in the opening segment that gives way to a punchy, funky jam led by the rhythm section (with Mike Meatballs) in support of Trey's adept use of his MuTron *and* Echoplex and P…

A very solid version in which the jam initially breaks away into some dark and low intensity playing. The mood brightens, then Page starts playing samples from "Shipwreck." After several minutes, the guys abandon ship, ending the jam on a high point with jubilant, celebratory playing.

Compared to the preceding two jam chart versions, this one reveals a third and new approach to "Roggae," as this one breaks into a swinging, blues-infused jam, accentuated by some guitar effects, but less than in Dick's '15. Strong Mike and Fish help bring this excellent version to a powerful peak.

The initial jamming is less rocking than most, but what it lacks in intensity, it makes up for with more melodic variation and synced-up playing. The latter part of the jam takes on a genuinely chilling tone with "Shipwreck" quotes, eerie effects, and power drill all thrown into the mix, as if to a…

A great version in which the Page and Mike stick mostly to the primary beat, while Trey adds off-beat color. As the intensity builds, Trey jumps mostly to the primary beat, providing power and grace.

After a strong, dark, but-not-atyplical-for-"Twist" groove, the jam melts into a thumping "Ghost"-like zone before taking off for peppier, happier pastures via a "Weekapaug"-like groove (and tease) before Mike's bombs wind down yet another excellent rendition.

Makes the familiar major-key pivot mid-jam and from there develops into an uplifting, well-textured groove.

With super short intro, bridge and "Piper" jam sections, this densely compact version packs more punch than the duration suggests. The gnarly, anti-bliss jamming is driven by Mike and Fish, and sounds more like the big summer '03 versions than anything more recent. Great -> to "Steam."

Quickly maneuvers into a relaxed zone with Trey on MuTron, then climbs into blissful major key at Page's insistence and then beautifully slides into space. Page's clavinet really does some work at the end.

Dives into a low-key late-night groove at Mike's urging, then Fish takes control as Trey lays down some thick MuTron nastiness. Mike remains very present all throughout. Briefly resolves to major key, but instead puddles and > into "Runaway Jim".

Second version goes deep, with an extended, echo-enhanced outro informing a passage of measured and highly musical space, which -> to "Mind Left Body Jam."

-> in from "Breath And Burning." Cool way to close out this first improvisational version.

Fish and Mike are out front on this one, giving the jam an early sense of drive and power. Soaring play by Trey and a solidly peaking conclusion all add up to a strong "Slave."

No mere novelty, the band's incredibly slow take on the composed section (better heard than described) seems to dissolve as muscle memory takes over, the torpid pace impossible to sustain. This inspires several minutes of particularly soulful and melodic jamming, which, in fun Phish fashion, dissol…

A sea of trills and melodic waves evoking the ocean's ebb and flow. A harmonious jam where the means are the ends; the musical equivalent to taking a walk through the woods for the sake of walking through the woods.

After departing the typical jam style, this version drops briefly into some murky waters but finds its footing as Fish propels things forward, eventually leading to a feel-good conclusion and a -> to the debut of "Friends".

An inspired version showcasing full-band interplay. Trey truly shines, working his line in a number of directions, sprinkling notes and modulating intensity to shape this shimmering summertime stunner.

After a couple of years of venturing abroad, "Harry Hood" proves that a more traditional, but extended trip is equally compelling. This fine encore version also includes a very powerful ending section.

Trey powers through "Carini" like a cold front, and a perfect storm ensues with "CDT." After breezing across familiar territory, the band embarks less upon a jam than an eclectic sort of symphony. The jam floats through a calm yet unsteady passage, atmospheric and effects-laden, before disembarking…

One of those jams that straddles the fence between "Type I" and "Type II". They never quite leave Fuego's structure, but some warm Trey interplay with Page make for a nice departure from the "Fuego" norm.

Solid Page solo > Fish on Marimba Lumina > Weird, spacey electrified bass action from Mike > klezmer, prayer-like chanting from Mike > conclusion.

Colorful bluesy licks. "Southern" swinging lines. Page and Fish might set this "Possum's" steady, swampy shuffle, but it's Trey who dominates this dense, extremely solid version.

One of the longest and most improvisational "Momas" to date isn't just an extended exercise in vamping and grooving. The jam pushes further from shore at the 6 minute mark, modulates by the 9 minute mark, sails through an octave-alternating thump, and the moment doesn't end until Mike drops his bom…

Ever versatile, in the past few years, "Harry Hood" has spanned the range from a centerpiece improv-heavy jam to a lilting, polished encore. Here, after really cool, rarefied, and old-school stylings, Trey works this powerful classic to an archetypal peak.

Early technical issues, a Brian Brown introduction, and a guitar switch do nothing to deter the band from taking "Cities" on a journey across the globe. Some strong but typical jamming leads to more instruments switching and the jam evolves / devolves into highly percussive near free-form…

Amusing vocal challenges and a slight return to atonal phrasing by Trey at first. Then this excellent jam courses through hard charging rock, start-stop "woo"-infused play, and funky, "Manteca"-like action. Serious sonic exploration as each player deploys an instrumental weapon of choice, before fi…

A strong version which features contemplative, quiet, and delicate playing, unusual for "BDTNL." Ultimately, this warm, restrained playing gives way to a traditional shredding and trilling peak.

After a thoughtful, contemplative start, the jam gains momentum, moving into a faster paced, uplifting section with great, clear playing by Trey, and solidly grounded by Page.

> from "Rocky Top". It's another "Martian Monster" rotation jam! One of the longest versions since the debut sees Trey hop on the Marimba Lumina, Mike on guitar and Page on bass. Straddling both playful and serious, this jam culminates with all four band members singing/hissing/shouting "Your trip…

Similar in intent to 8/23/15's version - drops down to a murmur, then roars back to life. A fine version from a wonderful Set 2.

A Useful Cross-eyed and Drowsy Ghost Goes Robo-tripping in No Ghost Land. [All "Ghost"ly signs of this tease-infused hybrid disappear shortly after the six minute mark. Trey bolts for the Marimba Lumina, Mike drops some bombs, Fish picks up the pace, Mike and Page join him on percussion, and Fish r…

-> from "Ghost," this spirited "CDT" finds the band working through the same three teases informing "Ghost," only in opposite. Spooky good. But there is much more to this centerpiece version than inventive teasing. Trey dominates, his playing infectious. And the band responds in kind, resulting in…

There's a bit more heft to this outro jam than typical, most notably Trey's added Echoplex, Page's synth work, and a spacey transition > to "2001".

A liquid Mike funky jam gives way to "C&P" quotes and then an absolutely filthy "NMINML" tease filled jam.

Combining reverb-heavy sounds with a very different take on the familiar theme, this jam sways from passage to passage with increasing intensity, until peaking with solid Page and Trey. Straightforward structurally, this unique rendering of the "BOAF" jam is classic Phish, reinventing older materia…

More quiet, contemplative soloing from Trey allows for more access to Mike's playing, which creates a really pleasant and interesting sonic juxtaposition. Trey's patterned, almost "skipping" style works to inspire Fish and Page. This eventually yields to far more forceful soloing (Trey), with Fish…

Although straightforward in nature, the rocking jam has a completely different sound and melody than the typical 3.0 fare, supplemental by guitar effects and Page's keyboard selections. It's different and worth hearing.

Delicate, directed playing by Trey, including some lovely descending arpeggios provide solid grounding for a strong "Mike's Groove," start to finish.

Replete with references to Oh Kee Pahs and Leo's/Fish's grandpa, this version is ripe with tropical sensations and staccato-like playing. A nice easy-going summer type jam, while the instrumental switch/marimba lumina section, a staple in 2016, recalls the humor-filled version from 7/10/97.

Like other recent strong versions, Trey's warm soloing shapes and colors a great groove. However here, Trey also works a series of licks into excellent and somewhat cacophonous full-band improvisation, which results in the wonderful, boxed-in feel of a "Guyute" jam.

After leaving the song's structure, a darkish groove quickly develops with great direction and intensity until a > to "Twist".

The special nature of this "Sally" unfolds after the vocal jam, and rather than peaking at its conclusion, the jam continues to build, with full-band play informing a perfect blend of rhythm and harmony. Excellent musicianship modulates in intensity, before pulsing, high energy rock cycles up to a…

Trey's playing is deft and versatile, but his move to atonality and atypical scales, very unusual for "LxL," is unpleasant to some ears. Nonetheless Fish is the real star, holding all things together with seeming ease. The music gels for a normalized conclusion in spite of Trey's descent into disso…

Great percussion propels this bright, busy "Antelope," before Trey takes over, scattering some unexpected notes and nicely playing off Page. Skipping and dynamic riffing, coupled with nice tension, propels this solid version to a terrific show-ending peak.

Trey returns to his roots and takes the leading role in this high energy version. First, he plays along noticeably during Page's solo, adding extra tension. Then during his solo, Trey manages to whip it up several notches more than has been customary these past few years. More like this one, please.

Leaving the standard behind, the jam quickly gains a warm and encouraging sense. Gradually, this feel-good sense is overtaken by driven, rock-oriented play with a threatening feel. Heavy bass action, wailing guitar sounds and effects work to increase the sense of foreboding.

Dives into late-night relaxed sparseness, with Trey and Page adding some occasional dissonant color. Trey even touches on "Manteca" a bit, a sign of things to come. > into a fabulous "Ghost".

Drops from an empty cob-webbed attic through a revolving Echoplex multiverse trap-door into a merry go round of incandescence. [Trey dials in his gnarliest, grittiest "2.0"-era tone, and employs his favorite "3.0"-era toy to multiplex ghoulish echoes over the early parts of this "Ghost" jam, as Fis…

In addition to strong playing, this version distinguishes through the use of dynamics. The jam section starts off as a quiet and calm respite, before patiently climbing to a ferocious and breathtaking peak.

A fun, improvisational intro section harkens to the days of old, and Mike really shines in the jam. There's also a major mode shift in the jam, which while familiar at this point, nonetheless differentiates this version to some degree.

Perhaps beset with tech troubles throughout this show, nonetheless the "Mule" is entertaining fun, with a Page solo > Trey and Fish Marimba Lumina "Duel" > klezmer > weird Mike chanting > conclusion.

"Did they jam out Tube?" YES. Witness the beginning of a new era of abundant "Tube" jams with this version, which, at the time, was one of the most improvisational versions to date, as it moves from funk to a hard-rocking groove with a big peak.

A slightly extended intro features a killer mu-tron "California Love" jam. Some off-kilter playing from Trey during the second half.

Trey modifies his tone early on to great effect, and solos quite strikingly. As the power grows, Fish, Page and Mike serve to colorfully and dramatically paint a wonderful, Trey-penned sketch. The powerful peak leaves everyone feeling good, and underscores why we all love this band so much.

That scene in The Right Stuff where the aboriginal shaman sends the cloud of fireflies to repair the heat shield on the Mercury capsule so John Glenn can safely re-enter Earth's atmosphere. It sounded like this. [In from "Fuego" ->, the Lockn' "Ghost" starts out with some staccato MuTron work from…

Mike and Fish quickly inject some spunk into this version, leading the band into a frisky groove which is contorted with loads of tension until finally pushing through to a glorious peaking section just before 11 minutes. At 12:45, a classic rock-derived outro kicks in, ultimately resulting in a >…

Fiery pre-choral jamming oozes into a prolonged and focused jam zone throbbing with psychedelic intensity (an approach not yet taken through this point in the song's history). Trey in particular is exuding a verve and tenacity wholly controlled, yet chaotic sonically.

Swinging "Dick's" version with great trilling, "Stash" teasing, and inspired contributions from all four musicians.

Trey restrains his playing at the outset, giving the jam a more deliberate pace and also providing space for additional band interplay. What results is a gripping, edgier take which makes the final ratchet up all the sweeter.

Trey plays some soaring notes throughout and builds to a pretty good peak, then leads the band into a dissonant and murky swamp from which "BOAF" emerges. A lot going on here despite the length.

Great intro with Trey using a wah pedal to create a cool swelling effect and the jam builds to a coordinated peak with piercing guitar and pounding drums before > to "Jim".

Some great back and forth between the Chairman of the Boards and Fish and Trey on percussion results in an even more energized than typical version.

Fierce, first-set jamming features fiery Trey and really fantastic Fish. The band explores a murky, yet musical calm, before rebuilding intensity replete with Trey evincing a fist-pumping return to the final refrain/traditional finish.

For the second year in a row, "Blaze On" gets taken for a walk at Dick's. This year's jam has a more laid back, unhurried feel to it, with nice delay work by Trey that builds before segueing nicely into -> "Simple."

For the second time in three years, the Dick's "Simple" is a real treat. Some great melodic delay work and alien noises from Trey provide a backdrop to interwoven melodies from Page and Mike (who also drops some bombs of approval), and Fish finds a fun marching beat to lead the way.

Mike's thundering basslines throughout the jam convince everyone, Page included, to leave the stage to let him finish off this beautiful and unique show-closing version.

"Tube" gets its second big ride of 2016 here, and while this version does not detour from the jam format like Chula Vista's, fans of the song will surely be satisfied by this funky romp.

A thematic "Type II" gem with remarkable flow, featuring extensive melodic soloing from Trey. Achieves "Hose" status sometime in the 13 minute range and stays there until a > to "Steam".

> out of "C&P". Trey works "C&P" teases into some killer between-verse soloing, then hits on some wonderfully and warm riffs. Fantastic version that -> into a tremendous "Piper".

You aren't crazy if you hear this highly improvisational sequence as "Piper" -> "Drums" -> "Jam." Following strong but typical playing, the jam breaks into unprecedented, Fish-led drumming and percussion, with all four on various percussion instruments. A brief but impressive jam emerges from the p…

Anchoring an hourlong improvisational journey during the last set of summer tour, the sixth Dick's "Light" grows brighter than ever, passing through a quieter space, a patient build, and a celebratory peak, replete with "C&P" quotes and a unique, haunting outro.

The band pivots from the typical funk vamp and reaches a rocking conclusion led by Trey in this verison.

After rolling through solid in-bounds territory, the jam fractures into several sections, including "Woo"-like stop/start play, some nice upbeat playing with a swinging vibe, and a return to more rocking action with "C&P" vocal quotes, before settling to percussive transition space.

This "Twist" gets Weir'd from the beginning as the (new) band continues getting their sea legs, but once things get rolling, they stay Weir'd throughout in the best way possible. Not the deepest version ever, but must-hear nonetheless.

The only Phish version of "Playing in the Band" marks the peak of Bob Weir's Nashville sit-in. Upbeat and melodic, this jam serves as a nice reprisal of Trey's GD50 work.

"Tube" continued its '16 comeback campaign with this sweet version featuring active back and forth between Page and Trey and a Moog-filled climax.

Funky, powerful start transitions to a melodic plateau with soaring improv.

"Plasma" assumes a fluid, late second-set form. Atmospheric and introspective, with strong elements of "Timber (Jerry)," Mike and Fish create a brooding, cosmic space within which Page provides on-point fills, and Trey works through a number of styles and rhythmic shifts, coloring the jam with real…

On the heels of a strong "Plasma," yet another wandering "Hood" serves to anchor a strong show. While the exploratory sections (5:00 - 12:30) offer some excellent playing, the return home leaves room for improvement.

> from "AC/DC Bag," the band is quick to capitalize upon the vibe, and creates a soupy, "southern" groove. Page keeps everyone on point; Mike and Fish provide great break back beats; and Trey shows considerable patience and restraint, bending notes and shaping his tone, his soloing adding extra swa…

Trey dominates early, powering the band through familiar ground and creating an "old school" vibe. From here, several distinct improvisational sections emerge, with strong contributions by everyone, including a masterful Marimba Lumina section a la Trey.

Airy and introspective, Mike and Fish create a space which Trey and Page fill with truly dynamic interplay. Great guitar drives this version to a strong conclusion.

The first "Simple" of Fall Tour picks up right where Dick's left off. The jam moves to dark but mellow space, and after some probing, Trey finds a magical riff that he just won't let go. By the 11 minute mark, his bandmates have all hopped the gravy train and the gearshift is set for Interstellar O…

Strong interplay between Trey and Page, good syncopation, and solid Fish working like glue to hold it all together results in a quality performance.

Really nice band interplay between verses, then a heavy fog rolls over the post-verses jam, almost "Echoes"-like in nature. Very cool effects from Trey and Page here. Strong version, especially for a first set.

A multi-section, "Type II" behemoth which covers a lot of ground and peaks twice in the process. > to "Simple". Longest version to date.

Moving beyond some rocking and melodic action in the instrumental section, the jam breaks into some swirling and rhythmic play, before settling into some excellent brooding, probing and charged intergalactic space.

Trey goes to the MuTron out of the final verse, and Fish hits on a "Manteca"-type beat that helps lead into a funky and psychedelic jam. Mike, in particular, is superb.

Second set opener is anything but elemental, illuminating the song's jam potential. Mike is super, and Trey modulates his tone, a liquid sound darkening to offer a bit by way of transition metal. A pointed, effects-enhanced -> gives rise to a centerpiece "Piper."

The customary "Piper" jam is melodic, rocking, and somewhat different from the typical, trilling shred-fest of years past. Around 7:00, the jam takes on a percussive aspect that grows increasingly powerful. Following great Fender-Rhodes action from Page, things settle, then blast into a spirited, c…

Beginning with some great quieter playing, including some "Manteca"-like action, the jam warms for bit, then heads into the familiar tension and release head waters, with excellent Fish and solid Page/Trey interplay.

An intense, driving and multi-faceted juggernaut. Initially breaking into quieter, probing play, the mood brightens into a rocking, upbeat section. Then Mike destroys the world as the sentiment turns darker, intense and ominous. Page and Fish are pivotal, but Mike rules as the energy rises to a sec…

Supercharged -> from "DwD" sparks breezy, airy playing, which breaks down around the 5:00 mark. Page is great, and the jam never loses momentum as Trey modifies his tone and the band fluidly floats through a few different tempos before, ultimately, alighting upon a suspended plane of marked beauty…

Around the 8 minute mark, Page leads the band into a "Type II" segment of glorious, major-key play.

At the time, the longest 2001 since the MJ version, and best since Darien 2011. Trey leads out in the second jam and the MGM turns into a DMT paradise. Things get evil, spacey, and the band quotes "Fame" while Mike liquefies the crowd. Monster version fitting of the monster 2016 Vegas run.

A swampy groove propels the jam forward in the first half before Trey revs up and caps it with a strong peak.

Coming effortlessly out of the song proper and oozing with wah-funk, the band comes running out of the gates. A thoughtful, almost ambient jam emerges before descending into a Page-led section; Fish consistently building up the percussive attack and Trey doing much the same on guitar. The transit…

Starts off slower and funkier than the usual, then unexpectedly -> into "Tweezer Reprise".

Part of a segue sandwich with "Martian Monster". Trey and Page sing "your trip is short" in lieu of the usual "Tweezer Reprise" vocals.

-> back out of "Tweezer Reprise", with a "Tweezer Reprise tease thrown in at the end for fun. A tremendously fun version.

This version starts with fun banter and slips into a breezy, mostly bass-led jam. At around 4:40, Trey moves over to the Marimba Lumina, and then Mike and finally Page join in and a full-on percussion jam develops. It's enjoyable, but typical of the percussion excursions of '16. At around 9:20 the…

Trey dazzles in this patient and well-crafted "Type I" jam reminiscent of some late 1.0 versions.

The jam slowly, patiently builds before (similar to 10/19/16) plateauing mellifluously, exploding triumphantly, and seguing into "Sparks" (after Trey arguably teases "Midnight Rider" for a measure or two!).

Severe weather alert: if the thunder don't get you, then the lightning wheel. [Mike opens the door to a more contemplative major-key space, and Trey hits on a gorgeous repeating note pattern. Page moves to piano and the jam turns warmer and richer, then settles down into a chilled-out late-night gr…

Delves into a knotty space out of the verses at Mike's urging, then Page takes the reins and he and Trey bring in a cavalcade of spacey effects and the jam gets foggier and fuzzier, Fishman hanging back and adding color rather than driving the proceedings. Resolves into an almost calypso-style spac…

Extended take begins by bringing the music to hush, with dynamically delicate nuance setting the table. Trey's liquid sustain glides with Mike's economical bass fills, slowly building to a soaring conclusion.

-> from Carini and with crunching power chords, this "Twist" initially wades in familiar waters with its emphasis on the upbeat bluesy song structure. Midway through, the band enters a slightly different movement that is more apt to trills and melody, not too dissimilar from a good "Gin." From here…