Three of a Different Kind

Atlantic City (Andrea Nusinov)

Atlantic City 2013 (Andrea Nusinov)

In a fall tour where so many facets of Phish’s game stood out, perhaps the most significant was their improvisational diversity. Phish is known for never playing the same show twice, and—more specifically—never playing a jam the same way twice. But on this tour they took this concept to a new level. Most often through history, Phish has focused—more or less—on one style of play at a time. Therefore, within a tour—say Fall ’97—most “Ghosts” will bare a sonic similarity, as the band was honing in on one sound, in this case, James Brown-esque groove. In the 3.0 era, however, focused pattern has not been their modus operandi. Instead of magnifying one style of jamming at a time, the modern era has been all about improvisational diversity, as Phish routinely and proficiently plucks jamming styles from the entirety of their 30 year history. Before coming back in 2009, the band had done all their pre-requisite course work: the fundamentals of the late ’80s, the intricate compositions of the early-’90s, the lightning quick “speed jazz” of ’93, the advent of free-form jamming in ’94, the psychedelic sorcery of ’95, the groove reinvention in late ’96, multiple stages of funk in ’97, the advent of ambient jamming in ’98, the ambient-layered sound sculpting of ’99-’00; the grungy, dissonant exploration of post-hiatus. Phish had learned it all. In this era, however, they have access to all of these learned styles and more as they their jams no longer liken case-studies, but referenced, master works. And on fall tour, this methodology worked wonders as the band’s jams—even within a single song—varied greatly, providing the ultimate smorgasbord of Phish delicacies.

Atlantic City (A.Nusinov)

Atlantic City (A.Nusinov)

This fall, the band played three versions of just about every major jam vehicle, and by comparing the three, the incredible diversity of Phish’s current jamming will leap off the table. My favorite reference point in the Phish universe is “Tweezer,” and so let’s start there. The band’s first “Tweezer” of fall came as part of Hampton’s instantly legendary third night performance. Once the guys pushed through a set of whammy-laced grooves, they took a sharp left turn for the dark side. Phish favored a loose, grungy and highly-effected sonic palette, as the music likened a descent into Hades. This ominous march became more and more intense—a harrowing segment of musical mania that pushed further and further into abstraction. Sounding as if they had been burrowing through the earth, the band—finally—popped through the darkness into the tranquil, deep sea where they floated hundreds of feet below the surface. And thus began the majestic final segment of the jam—a truly holy exchange. Needless to say, in Hampton, Phish put the lens of the exploratory and psychedelic side of their game, and came out with quite the result.

The next “Tweezer” came exactly one week later, on Sunday night in Hartford, Connecticut, and it was a totally different story. Whereas Hampton’s was loose, Hartford’s was tight. Whereas Hampton’s was quintessential “evil” Phish, Hartford’s was uplifting. Whereas Hampton’s was distorted and dissonant, Hartford’s was silky smooth and melodic. And whereas Hampton’s got abstract, Hartford’s grooved ’til dawn. You catch my drift? These two “Tweezer” jams couldn’t really be more opposite. Such utter diversity between versions makes any comparison a matter of apples and oranges. Hampton’s version felt perfect in the old, shoddy Coliseum, while Hartford’s uplifting groove exercise fit congruently with the most wide open dance floor of tour. As Mom used to say, “There’s a time and a place for everything.” And she’s never been more right than in Fall 2013.

Atlantic City (G.Estreich)

Atlantic City (G.Estreich)

“Tweezer’s” final outing came in Atlantic City’s fall tour finalé, and it was, perhaps, the most unique of them all. This version focused exclusively on rhythm, as each member used their instrument in percussive fashion rather than offering any melodic leads. Many times this is how Phish jams start before moving into a second section of more conventional playing. But Atlantic City’s never made that jump, instead undulating between varying rhythmic textures. This made for an extremely danceable version that entered some decidedly unique late-jam grooves. While this “Tweezer” developed in concept throughout, never did anyone look to build the jam vertically or melodically, as Phish remained a growling, mechanical dance factory for the duration of tour’s final jaunt. This excursion, truly, bears no resemblance to either Hampton’s or Hartford’s, making the trifecta of fall “Tweezers” about as different as three Phish jams can get.

If we were to draw roots of these “Tweezers” into Phish history, they would certainly touch several different eras. Hampton’s version references the growling abstraction of ’03 and ’04, Hartford’s nods to the funk era of ’97 and ’98, while Atlantic City’s is a bit tougher to trace—some combination of the intricacy and innovation of ’94 with a sonic palette of ’99-’00 and beyond. While musical genealogy is hardly a precise science, the overall takeaway is that Fall 2013 was comprised of a hybrid of improvisational styles from throughout the band’s illustrious career. And what makes Phish such a special band is that they are still creating at this stage of the game, forging new pathways nightly, all while referencing tricks learned over a Hall of Fame career. The result of this is a Phish tour that is more dynamic than ever before, as nobody knows what style of jam will spring from what song on any given night. In past eras, as unpredictable as Phish has been, one could know—more or less—what style of jamming they would witness when they walked through the arena doors. These days, however, with’s the band’s ever-diversifying improvisational tendencies, it’s just not that simple. When extrapolating this trend to every jam vehicle in the catalog, the possibilities contained within any current Phish show become limitless. Through the years, the band has taught us to expect the unexpected, but in this, their thirtieth, year, Phish has once again redefined the meaning of “unexpected.”

11.1.13, Atlantic City (Jake Silco)

Hampton Coliseum (Jake Silco)

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368 Responses to “Three of a Different Kind”

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  1. grafty Says:

    If you ain’t first, you’re last.

  2. Spasm Waiter Says:

    Mornin’ folks. Thanks for your diligence Miner. Great stuff!

  3. kevin Says:

    So wheres the Rochester C&P? Still no mention.

  4. Jerome Garcia Says:

    Enjoyed the Tweezenalysis Miner. Morning fLuffiniares.

  5. Spasm Waiter Says:

    A really thoughtful essay Miner. Points well made. Tweezer is the perfect song for the study. That AC was just sweet piece of rhthymic sonic tapestry.
    @chris- I like that c&p as well but I think the previous 2 posts are where mention would have been made…

  6. Spasm Waiter Says:

    ^ @kevin

  7. kevin Says:

    @Spasm. I know. But if the Hampton Ghost deserves number 19, the C&P deserves to get in the top 20.

  8. Spasm Waiter Says:

    There is an objective element when ranking works of art. Some folks dig on chocolate. Others like vanilla. C’est la vie man.

  9. Spasm Waiter Says:

    ^subjective

  10. George W. Kush Says:

    Thanks for another good one Miner! this read has me jazzed for MSG!

    Phiiiiiiiiiish!!

  11. Shred Says:

    Objective is right.

  12. DavidSilver Says:

    I need some filthy funk peoples. Island Cavern has broken open my soul.

  13. RoosterPizza Says:

    Island Cavern is the funking bomb.

  14. Stoney Case Says:

    Top of the mornin! Nice perspective Miner.

    Pages next toy?

    http://www.thisiscolossal.com/2013/11/viola-organista/

  15. buddysmyles Says:

    Still Looking… In need of 1 NYE… Anywhere in da building… Help me make my 1st MSG Show ever… buddysmyles at yahoolio..

  16. Shred Says:

    —–Go on 12-30-13—– Do your self a favor

  17. GoingSouth Says:

    Has there been a discussion yet concerning how awesome ‘Waiting All Night’ is? Every time I listen to 10.31 II, I hit repeat on that song for a good 30 min.

  18. Stoney Case Says:

    goingsouth,

    read back to yesterday. so much discussion, a wager was made. not sure the terms at this point, but Joe and I are all in!

  19. dorn76 Says:

    So Where’s Kevin’s write-up on the Roch C&P?

    Still nothing.

  20. sumodie Says:

    Miner, very thoughtful analysis, thank you

    In past eras, as unpredictable as Phish has been, one could know—more or less—what style of jamming they would witness when they walked through the arena doors.

    Did anyone think like this BITD? I sure didn’t. Just curious….certainly not disagreeing

    AC Tweez still awaits first spin over here

  21. Jerome Garcia Says:

    For those wanting a quick Phish listening reprieve I’m gonna pamp Greensky’s tour closer at The Gothic in Engelwood CO. Great room btw. Eggcellent show by the BB house band. Linked ystdy but here it is again.
    https://archive.org/details/gsbg2013-11-15.matrix

    Spinning now. Great sounding taboot.

  22. Spasm Waiter Says:

    Waiting All Night is sweet. Beautiful song with a Phishy eeriness to it. Vocally it is really interesting. Love Mikes bass parts too.

  23. ren Says:

    Finally putting some words to many of the thinsg that eluded us while tour was unfolding. Thanks Miner!

    Tis a great time for the Phish. Happy for our band…happy for their fans

  24. Stoney Case Says:

    JG! way to carry that GSBG torch

  25. Jerome Garcia Says:

    You know it Stoney. I might even go on GSBG tour next yr. F it.

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