When Phish splashes into an open jam, the adventure is on, regardless of what song the jam stemmed from. But in 2011, a tighter rotation of regular jam vehicles caused a tad of predictability to ooze into shows. Though the music could obviously go any which way, we all knew when jams were coming based on song selection—except in of a handful of surprise instances. With such a wide array of untapped material this era, the diversification of jam vehicles could instantly bolster the excitement of summer tour. In no way longing for the past, I believe the following five jams could be reinvented as platforms into the future.
“A Song I Heard the Ocean Sing”
With only two improvisational versions in this era—Deer Creek ’09 and Super Ball IX—it’s a wonder Phish hasn’t further tapped the vast potential of this sinister jam. Like many great Phish jams, this one starts out with structured improv centered on a monster guitar solo, but once this sequence ends, the flood gates of possibilities open. Not prone to one style of playing or another, “A Song I Heard the Ocean Sing” could easily mold to whatever direction the band chooses this summer. At Super Ball, the band quickly integrated an ambient-storage style jam into the piece, and back at SPAC ’04, they launched into a refined excursion in psych-rock. Thus, every time the opening of this song growls through the stacks, there is inherent mystery as to where it will go. Check out Super Ball’s version below.
Nothing screams summer Phish like “Halley’s Comet” jams. Making its improvisational name for itself from 1997 onward, “Halley’s” is always a welcome addition to any show in summer months. And when the band used it to craft one 2011’s defining jams out of the piece in Bethel, many fans thought its improvisational prowess had finally been resurrected. But it wasn’t to be, as the song returned to its compact form after its New York state adventure. Though doubtful, it would be invigorating to hear “Halley’s” grooves grace the summer air once again in 2012. Here’s Bethel’s version.
“Scents and Subtle Sounds”
This song has been an enigma in this era after emerging as one of the band’s compelling vehicles the last time around. Played only three times in 3.0—primarily for bust-out purposes—Trey launched into a soaring and emotional solo in Denver that seemed to awaken the spirit of the song. If “Scents and Subtle Sounds” returns to regular rotation—whether used as an open or contained jam—a certain majesty will come right along with it, perfectly meshing with any summer evening. And if this ever does transpire, let’s hope the band brings the intro with it! The following is Super Ball’s version—with intro.
“AC/DC Bag” turned a corner in 1997, with so many other songs, and became a legitimate platform for improv. Though never a guaranteed jam, for the next four years, the band took the song in countless directions, from UIC ‘98s drone/ambient psychedelia to Virginia Beach ‘98’s summer funk to Boise ‘99’s all-time spiritual excursion. The Gamehendge favorite hasn’t broken form in this era, which isn’t all that surprising, but if the band ever decided to toss a few “Bag” jams into the second set, things could get spicy quickly! Check out Virginia Beach ’98 below.
Here’s a dark horse pick. Appearing only a handful of times in the post-hiatus era, the title track from Round Room could make an intriguing launch pad with the band members’ now-polished skill sets. Taken in layered, ambient directions back in ’03, this jam could benefit from the sound-sculpting acumen of Phish these days. I wonder, however, if “Round Room” is even still on their radar. Here’s the Gorge version from 2003.
***2012, Summer 2012