Page and His Piano

6.22.10 (Parker Harrington)

Along with Phish’s retro-sized Fall Tour came many strands of the band’s musical roots. Churning out tightly wound jams akin to years past, Phish honed their improvisational skills with precise interplay each and every show. The four band members often engaged in equitable excursions without a clear lead player, thus the entire quartet could shine in relation to one another. In this context, Page emerged from Trey’s eternal shadow and stepped up his game, specifically, on piano. Returning to his personal roots, Page left many of his sundry keyboards aside when Phish got into serious business. If the band dipped into psychedelic seas, odds were that Page had firmly planted himself at the piano and gushed melodic styles. This trend gave even the heaviest “Sands,” “Pipers,” “Stashes,” and “Bowies” a distinctly stripped down feel, infusing an old-school layer into this new-school mixture. The late ’90s and post-hiatus represented experimental eras for Phish, and especially for Page, as he surrounded himself with more and more instruments. In juxtaposition to those eras, The Chairman of the Boards took a step backwards down the number line during Fall 2010, as his prominent piano offerings became a defining feature of Phish jams all season long.

One example of Page’s full-throttle piano assault came in the midst of Amherst’s stellar “Stash.” Playing quietly at the onset of the jam, he dotted the background with delicate melodic runs. Page comped Trey’s leads out of the gate, providing plenty of space for Red’s audacious leads; but behind the guitar narrative, he began to loosen up by interlacing piano chords with Trey’s lines. The two locked into each other’s phrases and painted the top half with sinister co-leadership. Joining Trey in a melodic switch that reached for the heavens, Page offered lead piano lines that harmonized beautifully with Trey’s melodic geyser. Moving between block chords and dizzying melodies, Page painted the music with maniacally rolling patterns. Never stepping off the piano for a moment, Page brought creative offerings to this “Stash” from beginning to end, building the final peak step-in-step with Trey.

8.10.10 (G.Lucas)

A second prime conversion of Page and his piano came in Manchester’s blistering tour-highlight, “Ghost.” The leadless quality of the band’s conversation defined this jam, as all four band members contributed equal parts for the duration. An example of an ego-less symbiosis, the band allowed plenty of room for all members other to speak, while complimenting each other’s ideas perfectly. Though Mike, Page, Trey and Fish were all at the top of their game during this segment, Page’s fluid piano leads stood out vibrantly. As the band settled into a groove, Page hopped right on piano adding sparse melodies to the burgeoning mixture. As Mike and Trey engaged in full, Page hung right with them – at first offering minimalist backing patterns and then flowing into complementary leads. For a short period he layered another keyboard atop his piano, lending a darker feel to the jam while still keeping the piano prominent in the upper-most layer of the music. As the jam picked up pace, so did Page’s offerings, and he stepped boldly into the thick of the band’s ascending path. He and Trey bounced melodic phrases off each other as they climbed into the most dramatic segment of the jam, and as they reached a furious peak, Mike, Trey, and Page rolled into a sonic ball of thunder far greater than the sum of their parts. Drifting into the ambient-groove, post-peak section, Page is the one that first hits the sublime melody that Trey echoes and turns into the theme of the jam’s denouement. Engaging in game of spiritual tag, Page wound his majestic piano phrases around his own melody that Trey hypnotically repeated, eventually blending into “Mango Song.” Contributing as much to the Manchester “Ghost” as anyone, Page, again, favored the piano for its entirety.

10.31.10 - Boardwalk Hall (Graham Lucas)

There can be no discussion of Page, piano, and Fall Tour without a mention of the band’s masterful cover of Little Feat’s Waiting For Columbus. Page’s role in the musical costume was playing the parts of Little Feat co-founder Bill Payne, considered by many contemporaries to be one of the finest rock and blues pianists of all time. And Page certainly did him justice. Anchoring many segments of Waiting For Columbus with Payne’s piano leads, Page interpreted the Americana feel of the album with authenticity. One of his personal highlights came in the piano-drenched “Dixie Chicken,” a song designed to showcase Payne’s piano chops and with an extended solo. Page seized his moment and ran with it, playing the bluesy parts with a legitimate down-home feel. The rest of the band took a back seat between verses as Page ticked the ivories like the maestro he is – and the one he was impersonating. Taking center stage, Page’s piano parts lit up the room through the middle stages of the piece, as other instruments came in with gradual support. Building from his solo into the next verse, Page slaughtered the piano parts as if they were his own. Lending a credibility to the album’s most popular song, Page stood out as the star of “Dixie Chicken.” Following the final verse, Page never missed a beat, joining the band in a seamless segue into “Tripe Face Boogie.”

10.23.10 (M. Wagner)

These are but three examples of Page’s return to piano prominence throughout the past season, and the list could continue for quite a while. As Phish moved backwards into the future, their keyboard player did the same. Playing strong piano parts in the context of heavy improvisation, Page shied from textural backing as he jumped into the fray with his bandmates on the instrument that brought him there. Though Page certainly didn’t forget his other keyboards, the resurgence of his piano mastery provided his most significant development of a transformative tour.


Jam of the Day:

Light” 10.22.10 II

Another piano-centric fall highlight from Providence.




7.8.1999 Virginia Beach Ampitheatre, Virginia Beach, VA

Mp3 Torrent, Megaupload < Links

VA. Beach Amphitheatre

Somehow this Summer ’99 gem slipped by the archive. Coming hot out of the box with a twenty-plus minute “Fee” jam, this show got going early. But Phish’s most impressive playing came in the second set sequence of “Birds > If I Only Had a Brain > Caspian.” This transcendent section of music held up as a summer highlight, and a closing combo of “Tube” and “Simple” came as a pleasant and energetic surprise. Fishman’s “Terrapin” encore gave a tongue-in-cheek nod to the stunning “Terrapin Station” encore from the previous year, and everybody went home laughing. In the midst of a great summer, this show often slips through the cracks, but it has plenty to offer. This one goes out as a reader request for Luke. Enjoy!

I: Julius, Fee > Guyute, Dirt, Nellie Kane, Stash, Cavern

II: Birds of a Feather > If I Only Had a Brain > Prince Caspian, Jesus Just Left Chicago, Saw It Again, Sleep, Meatstick, Tube, Simple

E: Terrapin > Hold Your Head Up, Character Zero

Source: Unknown

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520 Responses to “Page and His Piano”

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  1. garretc Says:

    Woah woah woah….

    Wait just one second!

    Phish has a piano player?!? You’d think they’d have the curtesy to amplify his playing, so we could hear that he’s there!

    Poor Page, always lost in the mix…

  2. garretc Says:

    Pardon me, “courtesy”…

    Also, in case you didn’t see it on the last thread, thanks for the countdown clock Miner!

  3. BrandonKayda Says:

    Nice post – Sounds like I need to listen to more Pipers/Sands so I can hear the piano in there. He has been really great on Stashes this fall.

    So I woke up this morning at like 2am with a really bad earache – it still hasn’t gone away. Lame.

  4. Foul_Domain Says:

    Morning BB.

    @BK – try taking ‘Aleve’ if youve got em. You need something with Apo-Naproxin. Most pain pills dont work for ear aches in my experience, except for Aleve.

  5. Burnt Says:

    I can honestly say that this show from VA Beach 99 is one of the worst Phish shows I had ever been to. There was such a lack of consistency and it was obvious the band did not have “it”. I’m surprised Mr. Miner speaks highly of the show. The 1st set was so short and the 2nd set was slow and dragging. From Caspian->the 3rd Meatstick in 4 shows, I was standing watching the band struggle. Tube was good but too late.

  6. darkphish Says:

    I always look forward to your Minor’s Picks. I could not wait any longer, so I made my own…significantly influenced by highlights you have discussed, plus some of my own recommendations.

    1. Punch You In The Eye
    2. Possum 10-15-10 Charleston, SC
    3. Bathtub Gin
    4. Vultures
    5. Wolfman’s Brother → 10-20-10, “Guyutica,” NY
    6. Cities
    7. Number Line 10-15-10 Charleston, SC
    8. Pebbles and Marbles 10-16-10 Charleston, SC
    9. Stash 10-31-10 Atlantic City, NJ
    10. The Curtain With 10-26-10 Manchester, NH
    11. Roggae >
    12. Taste 10-24-10 Amherst, MA
    13. Guyute >
    14. Bowie 10-20-10 “Guyutica,” NY
    15. Antelope
    16. 46 Days 10-12-10 Broomfield, CO
    17. Down With Disease 10-23-10 Amherst, MA
    18. 2001 10-30-10 Atlantic City, NJ
    19. Tweezer 10-23-10 Amherst, MA
    20. Crosseyed and Painless 10-16-10 Charleston, SC
    21. Twist 10-11-10 Broomfield, CO
    22. Carini 10-12-10 Broomfield, CO
    23. Ghost 10-10-10 Broomfield, CO
    24. Sand 10-29-10 Atlantic City, NJ
    25. Light 10-19-10 Augusta, ME
    26. Slave to the Traffic Light 10-10-10 Broomfield, CO
    27. Split Open and Melt 10-12-10 Broomfield, CO
    28. YEM 10-16-10 Charleston, SC
    29. Reba 10-19-10 August, ME
    30. Meatstick 10-12-10 Broomfield, CO

  7. Type III Jamming Personality Disorder Says:

    mornin’ all

    the chairman of the boards was definitely an all star performer this fall. here’s to continued domination on the upcoming run by the lover of hot pockets

  8. Foul_Domain Says:

    Just getting started on the DOTD. Thanks Miner!

    Pumped for the jam out of ‘Fee’

  9. Foul_Domain Says:


    ::raises coffee mug and drinks to that::

    Page is the man

  10. joechip Says:

    A couple other Page piano highlights from fall:

    Augusta Gin…single-handedly pushing the jam to new spaces.

    Amherst Caspian outro into Halfway to the Moon

    AC Jibboo…his work behind Trey is so assertive, I feel like he really propelled him to new heights.

    Page definitely rocked on the piano in October.

  11. Jtran Says:

    Today is the anniversary of the first public performance, 12/2/83.

    Know it

  12. willowed Says:

    Page announced his presence with authority this tour.

    You know the movie….name it

  13. Jtran Says:

    And better late than never to new avatar day

  14. KfL Says:

    love this post miner… love your more analytical work

    will check these tracks out…

    1 year ago today: msg light

    30 days from today: better msg light

  15. KfL Says:

    p.s. thursday mornings are for reggae

  16. SillyWilly Says:

    Selector J’s radio program is perfected for tying together papers so they can be turned in, for better or worse, at 430.

  17. SillyWilly Says:

    Listening to Selector J on my headphones…it’s like he’s in my thoughts….

  18. SillyWilly Says:

    or just perfect*

    typo fingers are bad for final draft day.

  19. butterflyeffect Says:

    someone else post i don’t wanna get bottom page’d

  20. Brian Frick Says:

    This has long been one of my go-to shows. The Fee->Jam captures what I love most about Phish. The Birds of a Feather insanity is wonderful too.

  21. Mr.Palmer Says:

    Willowed and KfL- cracking me up with the avatars. Well played.

    Nice article Miner, Page rules…

    Thanks for the DOTD, always looking for some more ’99. great, under appreciated year for the band. Some sublime moments.

  22. willowed Says:

    selector J

    Post the link to your show.

    Thanks in advance!

  23. SillyWilly Says:


  24. Type III Jamming Personality Disorder Says:


  25. willowed Says:

    Thank you sir!

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