2011’s “Type I” Highlight Reel

8.6.11 - The Gorge (Graham.Lucas)

Phish’s current creativity is far-reaching, seeping into all parts of their show and certainly extends beyond their exploratory jamming highlighted on Friday. I was going to wait until this coming Friday to highlight the band’s best contained, or “type I,” jamming of  2011, but instead, let’s get right to it! This following is how these picks are organized. First, I listed—in no particular order—the band’s strongest “type I” vehicles of the year, and highlighted my favorite version of each. I also noted one or two other standout versions as well. The tracks are simply ordered for playlist listenability. Then, I have a series of “One Timers,” or songs that only blew up once during the year—but that version deserves mention. Enjoy the many tunes, our the continuing look back at the year that was 2011.

***

Bathtub Gin” 5/28 I, Bethel, NY

“Bathtub Gin,” though never making into the second set last year, still produced a couple of standout versions and was always reliable for a solid piece of improvisation. My favorite version of the year came in Phish’s second show in Bethel, New York. Closing a spectacular first set, this jam moves into a serious funk jam, eventually blending with “Manteca” and back into “Gin.” One can hear the electricity in the air during this version, as Phish began their conquest of 2011. Honorable Mention: 9/4 Denver—a guitar clinic in groove.

[audio:http://phishthoughts.com/wp-content/uploads/2011/07/ph2011-05-28t11.mp3]

***

Reba > David Bowie” 7/3 I, Watkins Glen, NY

The Gorge 2011 (G. Lucas)

Phish played some standout versions of both of these classic jams throughout 2011, and wound up pairing them to finish the first set of Super Ball on July 3rd. Each of these Super Ball versions represent my pick for the top “Reba” and “Bowie” of the year. You can hear the fluidity of the band as they were in top form for their mid-summer festival, specifically, this final show of the weekend. Page and Trey flirt with “Dave’s Energy Guide” as the “Reba” builds into an out-of-character section. The two songs are joined by an ambient, storage-laced bridge. Honorable Mention: “Reba” 6/17 Charlotte—a second set version where the band swims in IT, “Bowie” 6/3 Clarkston, MI—the conclusion of “Disease -> Fluffhead > Bowie”

[audio:http://phishthoughts.com/wp-content/uploads/2011/07/ph2011-07-03.ka500.603a.lb_.m10.set1_.t13_Reba.mp3,http://phishthoughts.com/wp-content/uploads/2011/07/ph2011-07-03.ka500.603a.lb_.m10.set1_.t14_David_Bowie.mp3]

 ***

Sand” 6/19 II, Portsmouth, VA

“Sand” absolutely blew up in 2011. Every single version, less 12/30’s, was a legitimate highlight of its show. Featuring full-band interplay in every version since its reinvention last Fall, this became one of the anthems of summer. My favorite version came in June’s final show at Portsmouth, Virginia. Getting into a retro-futuristic stop/start funk jam, as well as a “Sand Reprise,” the band’s dynamic, rhythmically-focused imporv truly popped off in this summer highlight. A “Sand” and then some.  Honorable Mention: 8/6 The Gorge—Trey infuses a slight whale call into the groove while the band crushes within the venue’s open air anvirons; segues back into “Tweezer!”

[audio:http://phishthoughts.com/wp-content/uploads/2011/07/phish2011-06-19.d2t06.mp3]

***

Run Like an Antelope” 8/6  II, The Gorge, WA

6.5.11 — Cincy (M.Stein)

Though “Antelope” has remained fairly standard throughout 2011, a couple versions expanded beyond the norm. In the Gorge’s version of 8/6, not only did Trey provide a summation of the second set within the song’s intro, the band locked into a slammin,’ yet laid back, jam that oozed with both patience and ferocity. Passing through a “Golden Age” segment of the jam, teasing the final song from the set, Phish came together in this “Antelope” in far more engaging fashion that any other time last year. Honorable Mention: 6/4 Blossom—a quality first set closing rendition.

[audio:http://phishthoughts.com/wp-content/uploads/2012/01/2.10-Run-Like-an-Antelope.mp3]

 ***

Wolfman’s Brother” 8/15 I, Chicago, IL

It seems like “Wolfman’s” has permanently settled into a role as a first set song in 3.0. After taking some of its jams out in 2010, Phish brought the song, largely, back to form but for one or two occasions when it segued into another. My selection for the most engaging “Wolfman’s” of the year is an easy one—UIC’s version from 8/15. After moving through a legitimate funk session, Phish moved into a second jam where Trey initially laid way back in the mix filling in the space of his band mates groove. Gradually he integrated his lines into the music, finishing in victorious fashion. Honorable Mention: 7/2 Super Ball—a fury of funk grooves to get the festival going during its first set.

[audio:http://phishthoughts.com/wp-content/uploads/2011/09/1.07-Wolfmans-Brother.mp3]

***

Stash” 7/2 II, Watkins Glen, NY

Though “Stash” more often than not provides the first jam of its show, and hasn’t made it into the second set since the band’s return—the noted shows was a three-setter, and set II was essentially set I—Super Ball’s version carried a bit more rhythmic complexity than usual. This “Stash” represented the point where the band began to build momentum for the rest of the show and their late-night Storage Shed extravaganza. A quality moment that is often forgotten about from the last year’s festival. Honorable Mention: 6/10 Camden—a classic, modal take on the jam with quality tension and release.

[audio:http://phishthoughts.com/wp-content/uploads/2011/07/ph2011-07-02ccm4S2t.05.mp3]

 ***

Tweezer” 6/5 II, Cincinnati, OH

Though I highlighted the phenomenal Denver “Tweezer” on Friday, most often, the song was a vehicle for “type I” jamming rather than open exploration. In this Cincy version, the band sits into a vicious funk exchange for much of the piece before Trey peaks it with foreshadowing “Crosseyed” licks. Far dirtier and groovier than Denver’s melodic mind-meld, this is the other side of “Tweezer. Honorable Mention: 7/2 Super Ball—a crunchy, mechanical, larger-than-life version dripped from the speaker towers before ending abruptly for “Julius.”

[audio:http://phishthoughts.com/wp-content/uploads/2011/07/ph2011-06-05t14.mp3,http://phishthoughts.com/wp-content/uploads/2011/07/ph2011-06-05t15.mp3]

 ***

Harry Hood > Roggae” 9/4, II, Denver, CO

9.2.11 - Denver (G.Lucas / webcast)

“Harry Hood” continued to offer energetic and passionate playing throughout 2011, often finishing sets with cathartic exclamation points. But each of my two picks are versions that were more centrally located in their second sets. Denver’s 9/4 version melds the jam’s modern staccato soundscapes with the airtight, thematic playing of lore to create a new-school masterpiece. A truly triumphant piece of music, no version approached the Denver “Hood” this year. And the “Roggae” that followed harnessed the same vibe as the “Hood” jam, standing out in its own right. Honorable Mention: 5/28 Bethel—more exploratory than given credit for, 8/15 UIC—ended the night on a huge high.

[audio:http://phishthoughts.com/wp-content/uploads/2011/09/ph2011-09-04t17.mp3,http://phishthoughts.com/wp-content/uploads/2011/09/2.06-Roggae.mp3]

 ***

Slave to the Traffic Light” 6/19 II, Portsmouth, VA

Several times this era, Phish has centered “Slave” in the second set rather than leaving it as the shows denouement. And my pick for “Slave” of 2011 comes from Portsmouth, Virginia, in this exact context. Capping an opening run of “Crosseyed > Walls,” this version was incredibly patient and reached divine levels of interplay. Complete and utter bliss, this rendition is what this song is all about. Honorable Mention: 8/9 Lake Tahoe—another mid-set monster, 9/2 Denver—the conclusion of the “S” show, Trey holds a sacred note for quite some time.

[audio:http://phishthoughts.com/wp-content/uploads/2011/07/phish2011-06-19.d2t04.mp3]

 ***

Chalk Dust Torture” 8/16 I, Chicago, IL

8.15.11 - UIC (M.Stein)

The usually straightforward Phish anthem veered into more than a couple memorable jams in 2011, and my pick for the “Chalk Dust” of the year comes from the first set of UIC’s second show. Roaring to life like few versions have this era, Phish attacked this jam with uncharacteristic aggression, reaching intricate points that were more reminiscent of “David Bowie.” Sparking the show as the third song, this one provided a golden memory. Honorable Mention: 6/3 I Clarkston—a laid-back and patient take on the song to close the first set, 8/9 Lake Tahoe—intense version laced with teases and breaks down beautifully into “Slave,” 12/29 MSG—a fantastic transition into “Hyrogen” amidst a “Mike’s Groove.”

[audio:http://phishthoughts.com/wp-content/uploads/2011/09/1.03-Chalkdust-Torture.mp3]

 ***

Backwards Down the Number Line” 5/28 II, Bethel, NY

On a night when the band could do no wrong, they shredded this second set “Number Line” with atypically active interplay for this song. Focused on a whole band conversation rather than Trey’s noodling, this jam gets intricate and quite engaging, easily qualifying as version of the year. Honorable Mention: 6/19 Portsmouth—Trey gets into some Allman—esque soloing while the rest of the band is playing gently accompanying him.

[audio:http://phishthoughts.com/wp-content/uploads/2012/01/2.03-Backwards-Down-The-Number-Line.mp3]

***

Crosseyed and Painless” 7/1 II, Watkins Glen, NY

7.1.11 (G.Lucas)

Though it pains me that Phish has decided to use this once prolific jam vehicle as a means to high-speed and aggressive rock playing, they, nonetheless, routinely shred the composed jam to bits. Two versions standout above all others in my memory from 2011, and its no surprise that each contained a little bit extra. My highlight version comes from Super Ball, as an ambient jam led into the song and out of it before a Trey emerged with a cool transition into “Chalk Dust.” Honorable Mention: 8/17, UIC—featured a tripped out interlude between “Crosseyed” and “No Quarter.”

[audio:http://phishthoughts.com/wp-content/uploads/2012/01/2.02-Jam.mp3,http://phishthoughts.com/wp-content/uploads/2012/01/2.03-Crosseyed-and-Painless.mp3,http://phishthoughts.com/wp-content/uploads/2012/01/2.04-Chalkdust-Torture.mp3]

 ***

Weekapaug Groove” 6/8 II, Darien, NY, and 12/29 II, NYC, NY

“Weekapaug” has consistently proven to be more interesting than “Mike’s” in this era, a trend which certainly held true last year. Two versions stand out to me from 2011, the plinko-laced rendition from Darien Lake and the more commanding percussive-funk of December 29th’s version. Since we are all familiar with the recent one, I’ll play Darien.”

[audio:http://phishthoughts.com/wp-content/uploads/2012/01/2.08-Weekapaug-Groove.mp3]

***

ONE TIMERS:

2001” 6/8 II, Darien Center, NY

[audio:http://phishthoughts.com/wp-content/uploads/2011/07/2.09-Also-Sprach-Zarathustra.mp3]

Light Up or Leave Me Alone” 6/14 I, Alph., GA

[audio:http://phishthoughts.com/wp-content/uploads/2011/07/phish2011-06-14.d1t11.mp3]

Destiny Unbound” 7/3 I, Watkins Glen, NY

[audio:http://phishthoughts.com/wp-content/uploads/2011/07/ph2011-07-03.ka500.603a.lb_.m10.set1_.t07_Destiny_Unbound1.mp3]

The Curtain With” 6.10 I, Camden, NJ

[audio:http://phishthoughts.com/wp-content/uploads/2011/07/1.13-The-Curtain-With.mp3]

 —

Limb by Limb” 8/16 I, Chicago, IL

[audio:http://phishthoughts.com/wp-content/uploads/2011/09/1.12-Limb-By-Limb.mp3]

Wilson” 7/3 I, Watkins Glen, NY

[audio:http://phishthoughts.com/wp-content/uploads/2011/07/ph2011-07-03.ka500.603a.lb_.m10.set1_.t09_Wilson.mp3]

Mound” 7/3 I, Super Ball

[audio:http://phishthoughts.com/wp-content/uploads/2012/01/1.10-Mound.mp3]

Scents and Subtle Sounds” 9/2 II, Denver, CO

[audio:http://phishthoughts.com/wp-content/uploads/2011/09/ph2011-09-02t21.mp3] Tags: , ,

794 Responses to “2011’s “Type I” Highlight Reel”

  1. P.S.H.S. Says:

    keeping mine local

  2. angryjoggerz Says:

    Im watching this Bulls game in Minneapolis at the Target Center and all I can think of is….

    PIPER

  3. Jtran Says:

    You guys mus have some website to make these on…

  4. garretc Says:

    Figures, everybody jumps on the stealie train like, 2 weeks after I switched away from my Giants one…

  5. SillyWilly Says:

    that always happens to me, too, AJ

    Saw Furthur at Dane County Coliseum, I mean Alliant Energy Center, but I kept thinking about the Oct 95 Antelope

    whenever I’m in the Barrymore in Madison I think of seeing Phish that close in the early 90s

  6. RamblinMind Says:

    De-lurking to say thanks to aj for all these drops this week. Much appreciated.

  7. P.S.H.S. Says:

    nope just a friend with photoshop skills

  8. RamblinMind Says:

    shit, gotta get rid of this Trey Griswold gravatar

  9. Mr. Palmer Says:

    you were just ahead of the curve GC.

    That proshot video is $$$. Thanks Tom.

  10. angryjoggerz Says:

    Oct 95 Antelope

    ^ I was there!

  11. angryjoggerz Says:

    Any jazz year that sounds nice to anyone right about now?

  12. garretc Says:

    I’m a stealie hipster P, what can I say?

  13. RamblinMind Says:

    any rahsaan roland kirk, @aj? i’v only got a couple

  14. angryjoggerz Says:

    Which do you have?

  15. SillyWilly Says:

    right on, AJ

    pretty good show if i remember right

    i always remember that Antelope

  16. angryjoggerz Says:

    It was a great show, still one that I hold in very high regards.

  17. RamblinMind Says:

    Rip, Rig and Panic; We Free Kings; Domino; Now Please Don’t You Cry, Beautiful Edith

  18. angryjoggerz Says:

    Roland Kirk – I Talk With The Spirits
    http://www.mediafire.com/?210277yob2byub7

    On 1964′s flute showcase I Talk With The Spirits, (Rahsaan) Roland Kirk plays no reeds at all and, by necessity, only plays one flute at a time. However, unlike the majority of hopelessly twee jazz flautists, Kirk’s creativity is boundless. Playing with a grace and clarity comparable to Herbie Mann, singing and moaning into the instrument or using the noise of the flute’s keys as percussion, Kirk stands the conventions of the jazz flute record on their head.

    I Talk With The Spirits is quintessential Kirk, rarely just-pretty (though the melody of “Serenade To A Cuckoo” is possibly the loveliest of his career) and at times quite corrosive. As he wrote in the original album’s liner notes, “I don’t think it sounds at all like the flute album you expect to hear.” This Verve reissue is flawless, with beautifully remastered sound that adds previously unheard depth and spaciousness to the sound of Kirk’s quartet.

    Tracklist
    01. Serenade To a Cuckoo
    02. 02. We’ll Be Together Again – People (from “Funny Face”)
    03. A Quote From Clifford Brown
    04. Trees
    05. Fugue’n and Alludin’
    06. The Business Ain’t Nothin’ But The Blues
    07. I Talk With The Spirits
    08. Ruined Castles
    09. Django
    10. My Ship (from “Lady In The Dark”)

  19. SillyWilly Says:

    you are good, AJ

    you are good.

  20. RamblinMind Says:

    awesome, AJ. I used to have this on a burned disc but it got damaged somewhere along the way. Thanks!

    I used to have a mediafire hyperlink in my name….did they delete old accounts or something? (took hiatus from the board)

  21. BrandonKayda Says:

    Mingus is awesome. Was just watching a documentary on him.

  22. verno329 Says:

    Me too AJ! The Mother of all Antelopes was my first show. Quite the introduction

  23. SillyWilly Says:

    nice Verno

    that was my good friend, sometimes poster, Cal’s first show, too.

  24. angryjoggerz Says:

    Mingus, you say…

    Mingus – Pithecanthropus Erectus
    http://www.mediafire.com/?m9jsk2qcw5gicle

    One of the great figures in modern jazz, bassist Charles Mingus was the ultimate triple threat: a master of his instrument, a jazz composer of the first rank, and an insightful leader of a series of extraordinary and incendiary bands. Raised in Los Angeles, Mingus was a devotee of Duke Ellington, whose compositional style had an unsurpassed effect on the young composer. As a player, however, Mingus was drawn to his contemporaries, who included Thelonious Monk, Bud Powell, Charlie Parker, and Max Roach (indeed, Roach and Mingus co-owned their own Debut Records during the ’50s). Perhaps his greatest contribution was bridging the gap between those two generations: in Mingus’s music, one could always explicitly hear the continuity between the big bands and the bebop era, the affinity between the romantic and the modern. Although he had recorded extensively for numerous labels including his own Debut Records, Mingus’s relationship with Atlantic would yield many of his greatest recordings. Cut in 1956, Pithecanthropus Erectus was his first date for the label, and it provided something of a breakthrough for Mingus in his use of extended compositions: the 10-minute title track, and the lovely “Profile of Jackie,” are among the bassist’s finest recordings. The band is notable for the inclusion of the under-recorded tenor saxophonist J.R. Monterose.

    Personnel: Charles Mingus (acoustic bass); Jackie McLean (alto saxophone); J.R. Montrose (tenor saxophone); Mal Waldron (piano); Willie Jones (drums).

    Tracklist
    01. Pithecanthropus Erectus
    02. A Foggy Day
    03. Profile Of Jackie
    04. Love Chant

  25. angryjoggerz Says:

    ^ that one might be a repeat drop, apologies.

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