Sleeper Shows Pt. III
Tapers 2.22.03
An issue Phish heads are often faced with is the overwhelming number of recordings readily available, only a click away. It has come to the point where almost any show we desire can be downloaded, loaded into itunes, and ready to play in minutes. But, with all of this availability there are few legends to guide us through the maze that is Phish’s live career. Throw in a collection of Dead shows and you’re really in trouble.
While every one of us has a selection of shows that we constantly revisit, whether it be weekly, yearly, or whatever you so desire, these shows create the foundation of our listening. When someone introduces us to a new show, or we catch sight of a particularly juicy setlist, we are often led to great new discoveries.
Discovering new shows that can be added to your list of favorites is a wonderful feeling, and I try my hardest to make it happen as often as possible. Today, I’d like to share a couple that you may not not be familiar with, but may happen to find their way into your regular listening cycle after today. These aren’t meant to be shows no one has heard of, but rather shows that often go unmentioned considering their value.
1991.10.19 The Catalyst, Santa Cruz, CA
In the fall of ’91, Phish was embarking on their second national tour of the year. In many ways, ’91 existed as one of the formative years in the band’s career, expanding their music and audiences as they swept across the nation. Following a scorching summer tour that included both the Giant Country Horns and the famous show at Amy’s Farm, the band stepped into the studio to record Picture of Nectar. Fresh out of the studio with a wealth of new material, the band returned to the road in their two vehicle convoy consisting of a panel truck and a minivan. Touring through the heart of Dead-country, the band played the last of four nights in California at the Catalyst in Santa Cruz.
The show begins with a powerful “Landlady” opener that ushers with it an energy that rides throughout the entire show. Wasting no time, the band dives straight into “Suzy” without missing a beat. The set continues with an early version of “It’s Ice” that shows the band experimenting with the mid-section. “Jim” features a divine solo from Red, gearing this small bar in Santa Cruz up for a psychedelic ride. The rest of the set is terrific in every way. Great playing, great songs. Listening to this show just feels good…
Set two launches out of the gate with a concentrated burst of energy in “Llama”. The second set absolutely cooks, as the band runs through several big jams loaded with musical acrobatics. The “Tweezer” jam spirals into a groove, with contrasting sections of major and minor. The recording from this small bar is so good that you can clearly hear each member communicating with the others as they build mounting crescendos before exploding into collective outbursts of sound. The highlight of the show comes at end of “Hood”, which features a divinely bright jam to close the set.
“Harry Hood” (10.19.91)
DOWNLOAD 1991.10.19 (Pt.1, Pt. 2, Pt. 3) [SBD]
Setlist:
Set 1: The Landlady > Suzy Greenberg, It’s Ice, Runaway Jim, Foam, Chalk Dust Torture > Bouncing Around the Room, My Sweet One, Stash, Golgi Apparatus
Set 2: Llama, Bathtub Gin, Sparkle > Tweezer > Horn, Poor Heart, You Enjoy Myself, The Oh Kee Pa Ceremony > Hold Your Head Up > Terrapin > Hold Your Head Up, Harry Hood
Encore: Good Times Bad Times
1994.10.18 Vanderbilt University Memorial Gym, Nashville, TN
This show is somewhat better known for its ripping second set “Llama” featuring Bela Fleck. However, few ever mention the other highlights from this show – including one of the finest versions of “Reba” from ’94 (a bold claim). Touring through the south, the band made a stop in Vanderbilt’s gymnasium, leaving behind a show with several gems worthy of mention.
The show kicks off with an embryonic version of “Simple”, abbreviated yet powerful. “My Friend”, a potent opener in its own, follows, adding to the early energy. The first set is well played throughout, with a particularly dark “Stash” placed right in the middle.
The meat of the show starts with the “Bowie” second set opener. Diving deep into the darkness, the band members can be heard communicating as they bring life to the music. Rather than simply “jamming” on the chord progression, as so many “jam-bands” do, the band can be heard playing with the dynamics of sound (increasing and decreasing volume and tempo), as well as incorporating compositional elements into their jamming. This “Bowie” is a foreshadowing of the adventurous improvisation that would take place throughout the fall ’94 tour.
As was mentioned above, the second set “Reba” is one of the finest on a tour that took the song to great heights. Featuring a diversion from the standard modal jam, the band embarks on a soul-reaching journey that is superbly delivered. Bela Fleck joins the band from “SOAMule” until “LLama”, adding a welcome touch to the band’s bluegrass repertoire. “Llama” features the band starting on acoustic instruments and then moving to electric. A raging jam ensues.
“Reba” (10.18.94)
Setlist:
Set 1: Simple > My Friend, My Friend -> I Didn’t Know, Poor Heart, Stash, Tela, It’s Ice, Guyute, The Divided Sky, Amazing Grace
Set 2: David Bowie, The Horse > Silent in the Morning, Reba, Scent of a Mule, Lifeboy, The Old Home Place, Beaumont Rag, Nellie Kane, Llama
Encore: My Sweet One
On Green Dolphin Street…
Movie Poster
“On Green Dolphin Street” is a Jazz standard introduced as the main theme of a film by the same name. The song was originally composed by Bronislau Kaper with lyrics by Ned Washington. Though it has been recorded by numerous musicians, the version by Miles Davis on his album ’58 Miles Featuring Stella by Starlight is considered by many to be the definitive recording. Due to the song’s infrequent chord changes, the ability to improvise without having to worry about changing chords, allowed musicians to explore the song with greater depth.
Miles’ version from ’58 featured John Coltrane, Bill Evans and Cannonball Adderly, all who contributed to the song’s early status as a jam vehicle, each going on to record notable versions of their own. This type of jazz would lay the foundation for modal jamming, which Coltrane would go on to explore with relentless depth. Today we have compiled several of our favorite versions of the song, including the version from ’58 Miles. This was one of the earliest ‘jam’ songs, and was given the proper nod by our old friend Big Red on his demo recording in 1985 (also included below). Enjoy.
Miles Davis – ’58 Miles Featuring Stella By Starlight
Lenny Breau – Live on Bourbon Street
Trey Anastasio – 1985 Demo Tape
John Coltrane – Germany 1960
20 Years Later: Webster Hall 1990
Times Union Albany 11.18.92
20 years ago today, Phish played Webster Hall at Dartmouth College in Hanover, NH. After performing their first New Years show in ’89, the band took the first part of January to work on new material in the studio. Appearing sporadically throughout the northeast, debuting songs from their soon-to-be-released album Lawn Boy, the band was at an early creative high-point in their career.
The show from Webster Hall saw the debuts of “Bouncing” and “Squirming Coil”, as well as the first ever performances of “Caravan” and “Carolina”. This show is also significant as it is the first setlist, as well as the first recording, documented for 1990. 20 years later, it seems appropriate to look back on this show that seems to fly heavily under the radar. Featuring an early, yet divine, version of “Reba”, this show is a great look at the band in the early stages of their career. Trey was clearly feeling it on this winter night in Hanover, as can be heard in “YEM”, “Antelope” and “Mike’s”. I’ve always loved this “Reba” and thought it was worth sharing. Enjoy.
“Reba” (1990.1.20)
DOWNLOAD 1990.1.20 Webster Hall, Dartmouth College, Hanover, NH (Pt. 1, Pt. 2)
Setlist:
Set 1: Carolina, The Sloth, Bathtub Gin, You Enjoy Myself, The Squirming Coil, Caravan, The Lizards, Run Like an Antelope
Set 2: The Oh Kee Pa Ceremony, Suzy Greenberg, Bouncing Around the Room[2], Reba, Tela, La Grange, Lawn Boy, Esther, Mike’s Song > I Am Hydrogen > Weekapaug Groove
Encore: Harry Hood
On the Road Again: TAB Septet Preview
10.25.08 
With Big Red hitting the road again on Feb. 12 in Charlottesville, a large part of the Phish crowd has turned their attention toward the upcoming tour. As with any Phish-related endeavor, rumors are in high gear.
Ever since Trey’s groundbreaking show with 8 Foot Fluorescent Tubes, the initial incarnation of TAB, the band has had many personnel changes. The 8 Ft. performance took place at Trey’s brother-in laws bar “Higher Ground”, in Burlington, VT. Debuting numerous songs that would later become Phish staples, it was clear Trey had a path of his own to carve. Taking place only shortly after the Island Tour shows, this allowed us our first glimpse at Trey in a new rock-outfit (previous side-projects in the past were less directional, and were more experimental).
This time, Trey will be hitting the road with a newly formed septet. The members include the core of TAB – Ray Paczkowski, Jennifer Hartswick, Russ Lawton, Tony Markellis and Russ Remington – with the inclusion of Natalie Cressman (the daughter of Jeff Cressman, Trey’s former trombonist). The material is likely to be horn heavy, and after Trey’s visit at Carnegie, it can be expected that he’s learned a few things about arrangement. Trey spoke recently (in an interview posted on his facebook site) on the practice sessions which have been going on since December, longer than the band has ever rehearsed in the past.
“We spent three days at my house going through all the old charts – shoeboxes full of papers, many of them handwritten, from 10 years of horn writing. Don helped us re-voice the chords to sound richer and we finally did the work of perfecting that whole library of music. Don is also contributing some great new charts that he’s been composing. The charts are now being organized into a book like swing bands used to have. That’s been a dream of mine for years now because you can add to it quite easily and it allows you to proactively use your rehearsal time.”
10.25.08
As the layers of Phish peeled away, the band members’ solo projects became representative of their personal tastes and personalities. Trey, being the compositional genius he is, brought in horns (and later strings), for which he created challenging arrangements to accompany his guitar. Inspired by Zappa, Trey allowed the horns to take on unconventional roles, such as playing the guitar lines in “Sultans of Swing”. Trey acknowledged this in an interview with Rolling Stone in 2005.
“…when I went to Bonnaroo two years ago with my ten-piece band, we did two covers, Charlie Daniels’ “Devil Went Down to Georgia” and “Sultans of Swing,” by Dire Straits. In both songs, I had the horn section play the guitar solos, note for note. I never would have thought of doing that if I hadn’t seen Zappa do “Stairway to Heaven” in Burlington, with the horns playing Jimmy Page’s entire guitar solo, in harmony.”
Like Phish, his bands have been through numerous stylistic changes, reflecting Red’s constantly evolving taste and personality. This time it seems Trey is picking back up on his old love for swing and big band music that he so actively professed in the early years. Big band arrangers such as Duke Ellington and Benny Goodman, or funk bands like Sly and the Family Stone, have always inspired Trey’s solo works. But, what began as an attempt to create new compositions and jam vehicles for Phish, diverted course into a simplified songwriting form in an effort to best express his emotions. However, after years on the downward spiral, Trey reemerged in ’08 with a handful of bright new songs, including one challenging composition in “TTE”.
10.25.08
On the upcoming tour, Trey has already stated that the band will be playing old TAB staples, debuting new material as well as working on some of their old songs that never fully developed. One in particular that Trey hinted at was “Goodbye Head”, a song from Bar 17 that both he and I feel is loaded with potential.
In the coming weeks we will be talking TAB in the lead up to the tour. For now, enjoy the show below from 2006.10.8 at Webster Hall in New York. This show, the first of two nights at the intimate New York venue, marked the release of Bar 17. Trey appeared with Tony Hall, Raymond Weber, Ray Paczkowski, Christina Durfee and Jennifer Hartswick. Featuring a string quartet and a sit-in from Tom Marshall – this is a special show indeed.
“Goodbye Head” (2006.10.8) [SBD]
DOWNLOAD 2006.10.6 Webster Hall, New York, NY
Setlist:
Set I: Drifting, Sleep Again, Wherever You Find It, Money Love and Change, Tuesday, Sweet Dreams Melinda, A Case Of Ice And Snow, Alive Again, Skip The Goodbyes1, Love is Freedom*+, Goodbye Head*, The Divided Sky*+
Set II: Host Across The Potomac, Dark And Down, Gotta Jibboo, Plasma, Night Speaks To A Woman, Shine, Shadow*, Bar 17*, Come As Melody*
Encore: Cincinnati2
1 Tom Marshall on lead vocals
*With String Quintet
+ Trey on acoustic
[Thank you to The Butter Room for the excellent pictures]
Remembering Clapton’s Rainbow Concert
Album Cover
37 years ago today, Clapton made his official return to the stage after three years of drug induced confinement. After battling a vicious heroin addiction, during which he performed only once at George Harrison’s Concert for Bangladesh, Clapton reemerged at the Rainbow Concert. With Blackie in hand (for the first time ever), Clapton took the stage, playing a soulful show that removed him from his state of drug-induced isolation, and brought him back to where he belongs – the stage.
The Rainbow Concert marked Clapton’s return, and went on to spur Clapton’s recovery from heroin. This show would set him on the creative path which would lead to the eventual release of 461 Ocean Blvd, one of Clapton’s finest albums. The idea for the concert was devised by Pete Townshend, and was carried out at the storied Rainbow Theatre located in Finsbury Park in London. Musicians by the likes of Steve Winwood, Ronnie Wood and Pete Townshend accompanied Clapton in his return to the stage. Clapton returns to the stage once again on a North American/European tour starting Feb. 18. Click here for the full list of dates.
“Badge” 1.13.73
“Little Wing” 1.13.73
“Presence of the Lord” 1.13.73
NYE Review Pt. 4: Party in the City Where the Heat is On
1.1.10
The New Years Eve show is a night of pure enjoyment, Phish and fans together, celebrating in the music of Phish. Rather than attempt any major risks, or to break new ground, the band provides the ultimate party for their fans. What better way is there to spend the final night of the year than with your favorite band playing three sets of music? Mixed in the party were several more rare bustouts, and some inevitably great music. Every song carried the energy of the previous two nights, but rather than take them any further, the jams were kept concise and danceable, for the most part. The gag of the night brought some of the band’s humor to the stage, and showed, even well into their 40′s, these four guys haven’t lost a step. Similar to Pt. 3, I’ve laid out some videos highlighting the best moments of the night.
As we closed the door on 2009, and stepped into 2010, we were in the midst of a new dawn. Phish was back, and while we’ve said that so many times over the year, that couldn’t have been more true walking out of American Airlines on the morning of January 1st. With the reunion shows,a summer tour, festival/Halloween show, fall tour and New Years run under their belt, they charged into the New Year in an all new form. Exuding a rediscovered sense of joy on stage, it seems as though all is well in the world of Phish, once again. As we step forth into a new year, and a new decade, the band seems to have entered the next phase in their creative journey. At this point, anything is possible; Any direction can be pursued.
NYE Review Pt. 3: 12.30
12.30. The numbers that come up in every discussion concerning “best” Phish shows. With the goings-on of the night before on our minds, we entered American Airlines on the 30th ready for anything. And, when the first song came as both a rare bustout and an ultra party-starter, there was no looking back. Some nights, all four members of the band are totally on, and its always these nights that lead to the best shows. However, when a 5th element, CK5, is also on, the collective forces join to create a truly surreal experience. Rather than even try and put into words what went on that night, I felt it would be better to do a video-review, to try and capture the magic of the evening. Hope you enjoy.
Immediately, the band kicked off a ruthless version of “Jim” that deserves several listens. The guitar work is truly phenomenal. Trey quickly latched onto his wham, shifting the pitch of his notes to glide along with the melody. With every version of every song it seemed Phish was laying new ground, setting forth with unimpeded creative energy. Giving the show a double-opener intro, the crowd and the band, were charged up for a night that would feature some unforgettable moments.
Continuing to bring in the new year with bustouts galore, the set followed with no less than five rarities, as well as two debuts. After an emotional “Corinna”, the Taj Mahal cover that was played on the first night of Big Cypress, something happened. Trey overheard a fan requesting “What’s The Use”, my favorite song off the Siket Disc. Evoking the pure improvisational spirit in the band, they tore through their psychedelic instrumental, fueling the show with a rare energy that would carry into the second set. Thanks dude!
“Tela” came at a perfect time, satisfying so many fans – including one guy in my section who took the time to remind every single person that the last time the song was played was in November of ’98. He was still reminding people after the show. “Gone” made a soulful debut with a solo that saw Trey release some tucked-away demons from within. Before the set break, “Rocky Top”, “Chalkdust”, and “Bowie” graced the already awe-struck crowd.
My preaching of a big Miami “Sand” at setbreak, and the week prior, came true as the second set began. As the jam began, the band formed into two units – Mike and Jon, and Page and Trey. With the rhythm section holding down a tight groove, the lead instruments formed a web, connecting the two units into one greater force. Featuring some of Trey’s finest lead work of the run, this version was more of a rocker, as oppose to Camden’s all out jamfest. “Curtain” featured an exceptionally bright jam packed with numerous climaxes followed by “Lifeboy”, which came as a very welcome addition to the set.
“Back on the Train” proved that jams can occur at any time, within the context of any song. Featuring a fully type-II jam that had people all over asking “what song is this again?” this jam showed all those skeptics, they still have what it takes. One of the top musical moments from the weekend…
In the midst of a quiet, ambient section, we saw some of the tightest, most connected playing we have seen from the band in years. Each member communicating with the rest in a single collective unit, writing music on the spot – opening new doors. It is jams like these where it seems every note was predestined, and yet somehow they are occurring spontaneously right before you.
After the whole Rich fiasco, that surely made one Phish fan’s night, a rocking “Free” was performed before another highlight of the run went down. “Boogie Like a Reggae Woman” as it was so quickly dubbed, combined some of Mike’s best bass grooves with Trey’s creative sense of humor.
In a night that paired some of the years finest music, and some special very rare bustouts, I would hope every fan went home without a single complaint. 12.30 lived up to every legend and opened the door for 2010. The following night, as expected, was pure Phish party time. Tomorrow we will break down a few aspects from the NYE show, before moving on with our own new direction for 2010. Stay tuned.
NYE Review Pt.2: The Connection
Over the course of the following two nights of the New Years run, Phish rewrote the books for 2009. The year that brought with it so much hope, so much promise, so much…joy, was coming to a close. Since the return in Hampton, it has felt like a joint effort to try and regrow the magic that Phish brings. Whether it was relearning lyrics, practicing compositions, reconnecting with one another, it was a process and we were there for the ride. Over the 29th and 30th, Phish and every fan saw one journey end, and another begin. The reunion year was coming to an end, and the band had shed their training wheels – everything had returned to where they had left it. Leaving behind a year of progress, and marking it with two shows that set the band forth on a new creative path, everything seemed to be back in order. The indescribable feeling had returned. The meeting point between your dreams and reality all flowing into one magical experience. Phish. After a near-empty house on the 28th tickets dropped to near-nothing prices for the 29th show. With that, brought a much more packed house, and a very different vibe. This ticket fiasco was given an appropriate nod by the band as they opened with “Golgi”. Taking no time to get started, they dove straight into a ripping version of “Maze” that displayed Trey’s machine-gun shredding in full form. From that point, there was no question, the band was feeling it. On one of the most coveted days in Phish history, there was a clear consensual feeling – we were in for a ride. “Ocelot” featured one of its finest jams yet. With Mike and Fish holding down a tight boogie groove, Trey and Page sailing afloat upon the Melody, the two forces combined to create a fully-connected jam that implied a distinct sense of direction. “Reba”, one of the few extended compositions displayed over the run, was nailed with cunning prowess. When listening to versions from the summer tour, it almost seems like another band. How much they have grown. In a soaring stream of emotional energy, Phish laid it all out in this jam which was perhaps the finest version of the year. “Access Me” was a welcome addition to the set, appearing for only the second time ever. It has been a long desire of mine to see the songs from Undermind make it to the stage and so this one was good to see, and another check on the list of bustouts. “Reba” 12.29.09 Sometimes a second set opens, and its as though the band never left the stage. At the set break, as each fan analyzes and breaks down each song, with the addition of the extended period to access the beer stands, sometimes the energy created in the first set carries directly into the second. “Kill Devil Falls” lit the flame for a set that was arguably one of the band’s most cohesive of the year. Packed with engaging jams that displayed the band’s renewed sense of comfort, this set showcased several of the best moments of the year. As the opening notes of “Tweezer” rang out, the arena morphed into a collective force that resembled the “hose” in its truest form. As the deep bass-heavy groove emerged, and each member syncopated their playing with the others, their patterns weaved and meshed to create a fully-connected musical web. As the jam progressed, we embarked on a ride that saw one of the oldest jam lead us to one of the most transcendent moments of the year. These are the types of jams that divide the world into those of us who have had the experience and those of us who have not. The jams that make Phish the greatest band on the planet. As the jam diverted toward ambiance, a sense of purpose crafted the psychedelic flow into a thing of pure beauty. Unlike many of the ambient jams this year, this one had direction. The band moved as a single unit, carving out some of the finest music of the year, right before our eyes.
At this point, there was an overwhelming energy flowing within the building. “Jibboo” saw the band regain full comfort with their song catalog, moving flawlessly from “Jibboo” into “Wilson” and then back into “Jibboo” with a flurry of energetic improv. There was no question, Phish was laying out a new path for 2010 – one that seemed free of the growing-pains that have been present all year long. Out of “Heavy Things” came one of the brightest points of the entire run, with a soaring melodic jam that was completely unexpected. “2001″ and “Slave” put the cap on a great night of Phish, setting the tone for what was to follow the next night…
DOWNLOAD 2009.12.29 American Airlines Arena, Miami, FL Setlist: Set 2: Kill Devil Falls > Tweezer -> Prince Caspian > Gotta Jibboo > Wilson -> Gotta Jibboo -> Heavy Things > Also Sprach Zarathustra > Slave to the Traffic Light Encore: Sleeping Monkey > Tweezer Reprise
Set 1: Golgi Apparatus, Maze, Driver, The Connection, Wolfman’s Brother, Ocelot, Reba, Access Me, The Divided Sky, Cavern
NYE Review Pt. 1: A Circus of Light
12.30.09 (B. Leon)
One week later, and the events that took place in Miami are still fresh in our minds. One week since Phish ushered us to the edge, and back, in a musical circus that acted as the perfect capstone on the band’s comeback year. Over the course of four days, Phish fans of all types were reminded why we travel so far, and make such large sacrifices, just to see this band play.
When the final notes of Loving Cup were played, and we all walked, or staggered out of American Airlines – with no further shows in sight – the future seemed bright. High fives, hugs, cheers – few naysayers. In contrast to the 2003 NYE shows when it seemed the band was on a downward spiral, and were trying to see how far they could ride it, we followed blindly in tow. But, with the band now trodding upward into new territory, it seems the creative spark has been reignited, and all that lies ahead is -
The run began with an innocent introduction to the magic that would unfold on the following nights. The night that will surely be forgotten amongst the rest, shouldn’t be so quickly overlooked. With a setlist that flowed like a late 90′s Dead set, there were moments of greatness speckled amongst, reminding us why you should never miss a show. The return of “My Soul” (110 shows) saw Trey lock into some heavy lead work laced with crisp blues licks. It’s songs like this that remind us why Trey went searching for that edgier tone. Both Page and Trey displayed their skills in a tasteful exchange of solos.
12.31.09 (B. Leon)
The highlight of the 28th, for me, came during “Roggae” – a song that had been too long removed from Phish sets. The jam followed in the new direction, with Trey wailing out on his new favorite toy, building climaxes and then exploding into release. Mike’s continuing improvement was evident, as he layered the song with cascading stacatto notes, filling pockets of sound with rich, colorful playing. The jam built around each member’s playing, moving forward in a fully connected musical conversation. “Stash” was good, but failed to reach the highs seen in “Roggae”. Instead, the jam was more of a discombobulated mess that could have become something, but never did.
The second set built a great deal of energy that laid the way for the next night including a great “Light” jam. But, the rest of the set continued to chug along with a choppy flow that failed to get things going. “Makisupa” featured an extended groovy reggae jam that finished with an oddly-timed layer of syncopated chords. The night was capped off with an explosive “First Tube”, however, in a nearly empty house filled with a travel worn crowd, the energy just wasn’t there.
“Roggae” 12.28.09
Check back Monday where we will break down the rest of the NYE run…
