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”

  1. dorn76 Says:

    Beats workin’.

    Good read.

  2. chris Says:

    Can someone tell me if that JGB band release is flac or mp3? Also, I’m dl’ing from phone. I assume if it’s flac I have to convert to wav?


  3. vapebraham Says:

    chris: if you’re talking about the 11.3.73 jerry merl show i’ve been relentlessly pamping, then the answer is FLAC. bit torrent to dl. winamp or some other player that plays FLACs; no need to convert to wav. also iaudio is a high quality sounding portable FLAC player.

  4. MiA Says:

    I remember when TV show WKRP in Cincinnati did a tribute to the people who died. Thanks for the link.

  5. MiA Says:

    I guess if I had read Cliffy’s diatribe, he referenced it there. Nevermind.

  6. dorn76 Says:

    II vaguely remember that too, @MiA. What a crazy story, I felt uneasy just reading it.

    We’ve all been in those crushes of bodies where you have no control over where you’re going, and falling down could get you hurt. The scene getting into night 1 at Hampton in ’09 was like that for a few nerve-wracking minutes.

    But to be stuck like that for an hour or two?! Barely being able to get a breath. People dying. While cops and venue employees look on…


  7. chris Says:

    Thanks mia …win amp is great. . Didn’t know it plays flac…thanks!

  8. plord Says:

    Makes note to self to go into iTunes and delete every version of Picasso Moon, Samba in the Rain, and Little Red Rooster. Can’t be too safe…

  9. bobby weird Says:

    walkin’ blues, cc ryder, el paso too

  10. bobby weird Says:

    i admit… some of my songs are downright horrendous!

  11. Mr. Palmer Says:

    Long Way to go Home.

  12. plord Says:

    BW, I can’t kill El Paso. You need it for Veneta and Stanley Theater Dark Stars, and IIRC it also shows up in the middle of both a crazy Playin’ sequence and a crazy Other One sequence.

  13. vapebraham Says:

    early lunch + starmont cab sav. 2009 – a lovely affordable offering from merryvale, a star among the napa valley winemakers. glass of red w/ leftover mex brisket and mustrard chicken seems honest and appropriate. l’chaim.

    jerry still weaving tapestries of notes. Staggering how much that man gave. prolific, sweet, sensitive, brilliant, mortal man.

  14. little umbrellas Says:

    watched Louie’s Hilarious last night. one musical thing of note, the theme music at the intro and outro are very much reminiscent of No Quarter.
    Louie’s pretty into having say in everything. He was probably rocking out to it in his car and was like “yeah! I’m gonna walk out to some shit like this. Hey, write me something that sounds like No Quarter” – even more noticeable on the outro.

  15. plord Says:

    DERP. Stanley theater show I was thinking of is ->Cumberland, an altogether different and better monstrosity.

  16. little umbrellas Says:

    “you will soil pants across America.”
    -on point

  17. little umbrellas Says:

    double encore show, Icculus, Fire

  18. plord Says:

    But the Austin 11-15-71 DS->El Paso->Casey Jones is another keeper.

    It’s the same way with Me and My Uncle. I never need to hear it again but it pops up in the middle of too many sick sequences in ’70-’74.

  19. Kaveh Says:

    Long Way to go Home.

    Jezzus…just refreshed this page and this is what I see first…f-an-A…that song…too much.

  20. Kaveh Says:

    I would keep Picasso Moon…that is a ripper…especially ’91 versions; Bruce added a much needed punch to that song, especially the end.

  21. Kaveh Says:

    BW, I can’t kill El Paso.

    ^ And many front end DStar’s from Europe 72.

  22. little umbrellas Says:

    Hold Your Head Up > Terrapin > Hold Your Head Up

  23. vapebraham Says:

    i sure dig spirituality in all its authentic self-directed forms. spirituality comes down to contentment, humility, and appreciation. the world is awesome.

    re pamp:

    set II metermen. you need tracks 4 (funkify), 6 (just kissed), 10 (he bite me/ no more okey doke), 11 (ain’t no use), 12 (jam), 16 (people say).

    metermen is great just need to weed out the tracks where nocentelli tries to steal the show and hotdogs to uncomfortable extremes. the ensemble stuff highjlighted above, however, is $$$. page! page playing w/ george, zig, and leo — what the? pinch me.

  24. vapebraham Says:

    this cab is too good. i feel like a king, cuz i just kissed my baby.

  25. bobby weird Says:

    never had a problem with El Paso until I got the Dead channel on SiriusXM, and hear the dreadful thing at least 3 times every. single. day.

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