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. RoosterPizza Says:

    DavidSilver Says:
    November 19th, 2013 at 11:58 am
    How come I didn’t get a fucking job?

    Laughed pretty hard at that one.

  2. garretcorncob Says:

    Love him or hate him, Cristiano Ronaldo is one hell of a footballer…

  3. RoosterPizza Says:

    http://www.phishtracks.com/shows/1997-11-19/makisupa-policeman

    Good call on that!

  4. little umbrellas Says:

    sumodie, watched that first person vid. cool stuff. thanks

  5. sumodie Says:

    LU, love the tag line for that vid:

    “This is why the world needs unemployed brilliant people.”

    Can’t imagine how much work it took to produce that breathless 5 min clip

  6. phishm Says:

    @DS – Don’t sleep on that 1st set from 8/10/97. Probably my favorite 1st set I attended. Good Gin to open things up. The Disease is crispy and the Melt will blow minds. Oh ya, and the Hood to close the set is one of my favorites. Definitely left that show a little different then when I went in. Plus a really good Bye Bye Foot. Tripped very had at that one.

    I think that Stoney and Phoem should just shake virtual hands and agree that they don’t like each other, IMO of course.

  7. DavidSilver Says:

    Thanks buddy. Will do.

  8. vapebraham Says:

    $$ mex dinner tonight. dirtwolf on tap. delicious.

  9. vapebraham Says:

    this duke game is scaring me.

  10. phishm Says:

    One other thing DS, I’m listening to that show on Phishtracks now and it’s listed as re mastered. Not sure what that means however. Sounds good to me.

  11. DavidSilver Says:

    Yeah, I noticed that. Think it means a remastered aud. Would love to hear the sbd. Some day.

  12. Mr. Palmer Says:

    Reading YEM

    http://www.youtube.com/watch?v=eGdgqykAQ4s

  13. sumodie Says:

    first spins:

    AC Tweez & Twist

    WOWZA! Not too shabby ;0>

    Initial thought is I’m not sure I’d rank Hartford’s bliss Tweez higher, but now it’ll be fun spinning more & more phish to decide…

  14. Rob Ford Says:

    Sumo interesting albums list. The whole top 12 seems to just be from their record label, so it basically starts at mbv, which is my pick for album of the year.

  15. BooVT Says:

    Following the recommendation for 8/10/97 on Phishtracks.
    Fantastic!
    Hoo Haw.
    On the first set closer Hood right now.
    Not a bad way to spend the night.
    Thanks, All.

  16. sumodie Says:

    Rob, just an unexpected find. Many of those albums have been mentioned here.

    ***
    AC Theme!!!

    Also not shabby

    Love the vocal shenanigans mixed with groove jam

  17. MiA Says:

    That video was fantastic. Loved it.

  18. Mr.Miner Says:

    hartford’s tweeze was far more groove than bliss fwiw.

  19. sumodie Says:

    Miner, just spinning on the home system. I’m not invested in a strong opinion on any jam as of yet, still marveling in the overall awesomeness of this past tour

  20. plord Says:

    Just got goosebumps from the crowd noise in the GF opener. Plugged in audience that night. Didn’t hear anybody call the Back in the USSR.
    Lit the place up like a roman candle.

  21. MiA Says:

    Funny plord. Earlier that day…

    http://campl.us/eU19Ms9wmCo

  22. halcyon Says:

    evening friends,

    wingsuit ho!

    thanks for the greensky link earlier. show sounds so good, and bummed I missed them. I keep hoping they come down to our local bbq joint to play.

  23. MiA Says:

    Or not…

  24. MiA Says:

    http://imgur.com/MC6N66Q

    How about that?

  25. phishm Says:

    I concur. MiA called it on here that day.

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