Chicago Reader Reviews

Posted in Uncategorized with the tags , on March 2nd, 2011 by Mr.Miner

Today we have two reader reviews of Trey’s show in Chicago last Sunday. Denver downloads will be posted as soon as possible, and before long Trey will be wrapping up his tour this Saturday in the Bay Area! Stay tuned for all TAB downloads as they become available.

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2.27.2011 TAB @ The Riviera Theatre, Chicago, IL – Mike Thong

2.25.11 (M.Stein)

…I was charmed by the well-played acoustic arrangements of Phish’s canon. Some songs were played on an alternately-tuned second guitar, and some called for a capo. An interesting moment occurred during “Dirt.” Toward the end of the song Trey’s bright disposition became rather sullen and contemplative and it remained that way through the end of “Stealing Time From the Faulty Plan.” It was almost as though some painful thought or unspoken dedication had taken place…Read on here!

***

2.27.2011 TAB @ The Riviera Theatre, Chicago, IL - The Real Guy Forget

…The floor was densely packed tight, leaving little wiggle room for elbows to send off last minute tweets and texts. The lights dropped at 8:28 and with little fanfare Trey was atop his stool strumming the opening notes to Backwards Down The Number Line. As plenty of audience recordings have proved, the crowd was eager to participate, showering Trey with chorus like waves on a sandy shore. It appeared Trey might have been thrown a curve, as he tried to realign his lyrics with the audience’s refrain, eventually leading to building finish and a large crowd eruption to greet the Bad Lieutenant…Read on here!

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Jam of the Day:

Tweezer > 2001” 7.1.98 II

On the second night of Summer ’98, Phish dropped this monster sequence, melting many faces in the process.

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TAB @ Chicago

Posted in Uncategorized with the tags , , on February 28th, 2011 by Mr.Miner

2.27.2011 The Riviera Theater, Chicago, Illinois

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2.25.11 (M.Stein)

I: Backwards Down the Number Line, Theme From the Bottom, Farmhouse, Gumbo, Kill Devil Falls, Halley’s Comet, Dirt, Stealing Time From the Faulty Plan, The Wedge, Let Me Lie*, Water in the Sky*, Wading in the Velvet Sea*, Heavy Things**, Liquid Time**, Hey Ya!**, Push On ‘Til the Day^

II: Gotta Jibboo, Ocelot, Valentine, My Problem Right There, Cayman Review, Burlap Sack and Pumps, Clint Eastwood, Money, Love and Change, Small Axe, The Devil Went Down to Georgia, Night Speaks to a Woman, Ether Sunday, First Tube

E: Sultans of Swing

*w/ Jen and Natalie, **acoustic, w/ full band, ^electric, w/ full band

Source: Neumann skm140 > Sound Devices Mixpre > Olympus LS-10(24/48)

Money, Love and Change

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Night Speaks to a Woman

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Reader Review: TAB @ AE Stage, Pittsburgh, PA: Casey Boire

2.25.11 - Pittsburgh (M.Stein)

Nestled in the shadow of Pittsburgh’s Three-Rivers Stadium, Trey and his Classic TAB line-up rolled into Stage AE on Friday night and laid down an impressive show that was arguably the best of the tour so far. Upon walking in around the scheduled show time, I was surprised to see the place packed from wall to wall considering that it was one of the few shows to not sell out beforehand. Trey came onstage around 8:30 pm and opened his acoustic set with Backwards Down the Number Line. Everyone was in good spirits and as Trey sang the final part of the song, the crowd joined in by providing the backing lyrics of “All my friends, Backwards Down The Number Line.” The sing-along continued throughout the first set and included well-played versions of Gumbo, Farmhouse, Stealing Time From the Faulty Plan, and The Horse > Silent in the Morning…Read On Here!

Please send your TAB reviews to mrminer@phishthoughts.com!

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TAB @ Columbus

Posted in Uncategorized with the tags , , on February 27th, 2011 by Mr.Miner

2.26.2011 Lifestyles Community Pavilion, Columbus, OH

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2.26 - Columbus (Michael Stein)

I: Sample in a Jar, Wilson, Cavern, Joy, Sleep Again, Bug, Chalk Dust Torture, Limb By Limb, Harry Hood, Strange Design, Backwards Down the Number Line, Hey Ya!*, Valentine*, Cayman Review*, Burn That Bridge*, Ocelot*, First Tube*

II: Gotta Jibboo, Drifting, Burlap Sack and Pumps, Alaska, Sweet and Dandy, Simple Twist Up Dave, It Makes No Difference, Clint Eastwood, Push On ‘Til the Day, Black Dog

E: Sand, Tuesday

*w full band

Source: (FOB) Schoeps Mk41

Gotta Jibboo

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Simple Twist Up Dave

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TAB @ Pittsburgh

Posted in Uncategorized with the tags , , on February 26th, 2011 by Mr.Miner

2.25.2011 Stage AE, Pittburgh, PA

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2.20.10 - Minneapolis (S.LaBrasca)

I: Backwards Down the Number Line, Gumbo, Farmhouse, Stealing Time From the Faulty Plan, The Horse > Silent in the Morning, Talk, Driver, Theme From the Bottom, Down with Disease, Heavy Things*, Liquid Time*, Let Me Lie*, Show of Life**, Push On ‘Til the Day**

II: Night Speaks to a Woman, Valentine, Cayman Review, Alaska, Burlap Sack and Pumps, Gotta Jibboo, Goodbye Head, Mozambique, Clint Eastwood, Money, Love and Change, Magilla, Sand

E: First Tube

* w/ full band, ** w/ full band , electric

Source: Schoeps MK22 > VMS5U

Goodbye Head

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Push On Til the Day

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TAB @ NYC & Philly

Posted in Uncategorized with the tags , , on February 23rd, 2011 by Mr.Miner

Teminal 5, New York City, New York

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2.19.10 - Chicago (Photo: Matt Simpson)

No reader reviews have been submitted. If you’d like to write one about a Trey show, please send it to mrminer@phishthoughts.com.

Acoustic Set: Down with Disease, Wolfman’s Brother, Theme From the Bottom, Camel Walk, Kill Devil Falls, Meatstick, Halley’s Comet > Bouncing Around the Room, Cavern, Prince Caspian, Limb By Limb, Stealing Time From the Faulty Plan, Wading in the Velvet Sea*, Heavy Things**, Peggy**, Hey Ya**

Electric Set: In the Wee Wee Hours, Valentine, Ocelot, It Makes No Difference, Gotta Jibboo, Burlap Sack and Pumps, Clint Eastwood, Cayman Review, Sand, Sweet and Dandy, Burn That Bridge, My Problem Right There^, Tuesday, First Tube > Empire State of Mind^

E: Sultans of Swing

*Trey acoustic with Jen Hartswick and Natalie Cressman
**Trey acoustic with full TAB
^TAB debut

Source: AKG se300b/ck93 > Edirol UA-5 (bm2p+) > iRiver h120

Jibboo” 2.22 II

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***

My Problem Right There” 2.22 II

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*************

2.23.2011 The Electric Factory, Philadelphia, Pennsylvania

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The Electric Factory

Acoustic Set: Back On The Train, Free, Sample in a Jar, The Wedge, Wilson, Twenty Years Later, Suzy Greenberg, Twist, Theme From The Bottom, Carini, Waste, Lawn Boy*, Liquid Time^, Heavy Things^, Hey Ya^

Electric Set: Push On Til the Day > Tube Top Flop, Night Speaks To A Woman, Ooh Child, Burlap Sack and Pumps, Ocelot, Shine, Dark And Down, Mr. Completely, Ether Sunday, Acting the Devil, Done Done It, Sand

E: At the Gazebo, Birdwatcher, Tuesday

* w/ Tony Markelis and Russell Remington, ^ w/ full band

Source: Schoeps mk41v’s (DINa)

Mr. Completely” 2.23 II

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***

Sand” 2.23 II

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Trey Tour Tips Off

Posted in Uncategorized with the tags , , on February 21st, 2011 by Mr.Miner

2.18.11 C.Green)

Trey kicked off his solo tour in style over the weekend, playing three shows with a notably more diverse song selection, precise guitar shredding and some surprise covers in Portland, Albany, and Boston. Though I’ve only been listening along on tape, the band sounds well-practiced and as tight as ever. With Trey on point, the band seems to come together quite readily.

Trey’s current two-set affairs carry a different contour than ever before. Flooding his first-set solo segments with Phish songs, Trey has given favorites from “Theme From the Bottom” to “Carini” the acoustic treatment. More easily garnering momentum with pieces that fans have an attachment to, Trey has allowed his song structures to shine in a stripped down setting, and they’ve been translating to stage better than I would have imagined. Though many classics inevitably turn into mass sing-alongs, at least the show has energy from the beginning—something that wasn’t guaranteed with an acoustic opening set.

Towards the end of the first half—in his opening two shows—Trey brought up part, and then all, of his band to accompany him while still playing acoustic guitar, a rarity for Red. But some legitimate highlights have emerged from these segments, including the return of “Liquid Time” in Portland and “The Devil Went Down To Georgia” in Albany. These portions have concluded the opening sets, prepping the audience for the full-on electrical barrage.

2.18.11 C.Green)

The buzz of the first couple shows has not only come from the obvious and power-packed jams, but also from some brand new and old-school covers. The moment of tour that everyone has been talking about is TAB’s take on The Gorillaz’ “Clint Eastwood,” a lamping groove from the band’s debut album that actually fits TAB quite well. With Jen Hartswick rapping in lieu of Del tha Funky Homosapien, the band pulled off a surprisingly proficient cover of the creative hip-hop nugget. Trey has also dipped into contemporary culture during the end of his acoustic set in Portland, playing Outkast’s “Hey Ya,” a comic funk-rocker from Andre 3000′s half of the 2003 double-album “Speakerboxxx/The Love Below.”

Bringing older covers like “Ooh Child,” “Sweet and Dandy” and “It Makes No Difference” back into the mix, Trey has been switching things up early in his tour, and the word from the road has been nothing but glowing. Not only spicing up setlists with creative covers, Trey has also delved into his past catalog, reviving songs such as the ska-laced “Acting the Devil” and “In the Wee Wee Hours,” both unplayed since 2002, and “Black” unplayed since 2005. He has even made a backwards conversion, adding a Phish staple, “Ocelot,” to his solo shows. Including all his heavy hitting staples from TAB history, Big Red has quite a base of songs to choose from when forming his one electric set, and, albeit early, he’s been doing a great job.

After three shows, (only two considered in this mini-armchair review), Trey seems to be off to a smoking start to his cross-country tour. Altering format and clearly having fun, the band has already thrown down some fierce jams and must-hear moments. Check out the first two shows below and some audio clips below.

*****

Jams of the Day: TAB @ Albany, NY – 2.19.2011

Clint Eastwood

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Ocelot

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Sand

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*****

DOWNLOADS OF THE DAY:

2.18.2011 State Theatre, Portland, Maine

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2.18.11 C.Green)

Acoustic Set: Theme From The Bottom, Cavern, NICU, Bug, My Friend My Friend, Horse > Silent in the Morning, Gumbo, Suzy Greenberg, Kill Devil Falls, Water in the Sky*, Spin**, Liquid Time***, Hey Ya***^

Electric Set: Cayman Review, Mozambique, Gotta Jibboo, It Makes No Difference, Acting the Devil, Alaska, All That Almost Was, Words To Wanda, Push On Til The Day, Birdwatcher, Sand, Wherever You Find It, Plasma, Tuesday

E: In The Wee Wee Hours, Dragonfly

Notes: *with Jen Hartswick and Natalie Cressman
**with Jen Hartswick, Natalie Cressman, and Ray Paczkowski
***with all of TAB
^debut. Outkast origianal

Source: MP3: (FOB) Sound Professionals SP-BMC-12 / FLAC: Schoeps MK4

****

2.19.2011 The Palace, Albany, New York

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Acoustic Set: Free, The Wedge, Prince Caspian, Backwards Down The Number Line, Limb by Limb, Stealing Time From The Faulty Plan, Guelah Papyrus, Buffalo Bill, Joy, Halley’s Comet, Wading in the Velvet Sea*, Black**, Valentine***, Devil Went Down To Georgia***

Electric Set: Money Love & Change, Done Done It, Ocelot, Clint Eastwood^, Night Speaks to a Woman, Sweet & Dandy, Ooh Child, Windora Bug, Birdwatcher, Sand. Drifting, The Way I Feel, Push On Til The Day

E: Cayman Review

Notes: * w/ Jennifer Hartswick and Natalie Cressman
**  w/ Jennifer Hartswick, Natalie Cressman and Ray Paczkowski
*** w/ TAB
^Debut, Gorillaz original

Source: Busman Bsc1 (Hypers)

2.18.2011 (Chris Green)

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Trey Tour – Winter 2001

Posted in Uncategorized with the tags , , on February 16th, 2011 by Mr.Miner

8.7.08 Brooklyn (Unknown)

After Phish finished at Shoreline in 2000, Trey’s motor kept running. Continuing to write new material, he soon needed an outlet to play it and booked a spontaneous solo tour for the Winter of 2001. For a backing band, he looked to his his trio from the Spring of 1999. Pulling his rhythm section of Tony Markelis and Russ Lawton back together for his second tour ever, this time Trey added a three-piece horn section as well. Dave Grippo (alto sax) of Giant Country Horns fame,) young Jen Hartswick (trumpet, tuba) and Andy Moroz (trumpet) formed the Burlington-based trio that spiced up Trey’s jams all tour long. Adding a genuine fusion dynamic to the band’s rhythm-focused grooves, this initial horn lineup meshed immediately with the Trey, Tony, and Ray, forming, in my opinion, the best-ever incarnation of The Trey Anastasio Band.

Winter 2001 Poster

To his Spring 1999 staples of “Sand,” Jibboo,” and “First Tube,” Trey added new songs such as “Push On Til the Day,” “Burlap Sack and Pumps,” and “Drifting.” Trey ditched his acoustic set in favor of two electric throw-downs and the band hit the road in February for a slate of ten shows (adding one more on the spot in Atlanta after an unexpectedly high for the first.) Starting in the Northeast, the band wound their way south, finishing with a fierce four-pack in Asheville, NC, Columbia, SC, and two at The Fox in Atlanta. Spicing their sets with new covers, this version of Trey’s band featured musical conversations rather than Trey simply shredding over a thick groove. As opposed to the horns of modern-day TAB who have more composed lines, Grippo, Hartswick, and Moroz improvised right along with Trey through the fiercest and most explosive escapades, upping the onstage dynamic considerably while bringing an entirely new element to Trey’s jams.

Philadelphia 2010 (B.Ferguson)

Philadelphia 2010 (B.Ferguson)

So many musical passages stood out on this tour, but if one jam shined as the quintessential TAB 2001 excursion, it was “Sand > Quadraphonic Toppling” from Columbia, South Carolina. Delving deep into fusion psychedelia, the band threw down an extended series of textured dance grooves that were spiced considerably by horn improvisation. And then evoking memories of Big Cypress, Trey led the band through the abstract “Quadraphonic Toppling,” playing—and looping—the song’s minimalist melody himself.

Trey’s sextet existed for just a blip in time, playing only the winter’s eleven shows together. When Trey emerged with his band for the summer of 2001, he had added Ray Paczkowski on keyboards for the first time, as well as a fourth horn player, Russell Remington, on tenor sax and flute. The following summer, this lineup only grew, as Trey went on to explore Afro-Cuban grooves. But for a spontaneous stretch in the winter of 2001, Trey was discovering the power of his solo act, and his shows contained a palpable energy, bringing a buzz to the scene. Phish was done—for the moment—but Trey’s solo career was beginning to heat up.

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Jam of the Day:

A Song I Heard the Ocean Sing” 6.19.04 II

One of the top-shelf jams of the post-hiatus era.

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DOWNLOAD OF THE DAY:

4.12.1991 Barrymore Theatre, Madison, Wisconsin SBD

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Barrymore Theatre - 1991

Keeping the old-school soundboard train rolling.

I: Llama, Uncle Pen, The Divided Sky, Guelah Papyrus, The Oh Kee Pa Ceremony > Suzy Greenberg, Stash, Rocky Top, Golgi Apparatus

II: The Landlady, Runaway Jim, You Enjoy Myself, Fluffhead, Cavern, Tela, Buried Alive, Reba, My Sweet One, Good Times Bad Times

E: Contact > Big Black Furry Creature from Mars, The Squirming Coil

Source: SBD

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The Spark of Trey’s Solo Career

Posted in Uncategorized with the tags , , on February 15th, 2011 by Mr.Miner

2.16.10 - NYC (J.Orsillo)

I still remember getting the analog tape in the Spring of ’98. It was labeled “8 Foot Fluorescent Tubes,” the moniker of some local Burlington musicians Trey had assembled to play a single show at Higher Ground, a club in their home town. His band featured Russ Lawton on drums, Tony Markelis (formerly of The Unknown Blues Band) on bass, Tom Lawson of the punk outfit The Pants on a second guitar, and Heloise Williams of viperHouse on vocals. Together they ran through a stripped down set of Trey’s unplayed solo material before many more musicians joined them as The Burlington All-Stars for a second half filled with covers . But in that first set, Trey’s solo career was born.

The first two songs on the analog tape were labeled “Bing-Bong” and “Wee,” both referencing musical elements of the songs themselves. “Bing Bong” alluded to the climactic and repetitive chord change at the peak of the the song (words also sung by Williams)—a piece that would transform into “First Tube.” “Wee” alluded to Trey’s siren loops that started at the beginning a heavy groove, one of the strongest parts in the show, that would soon be known as “Sand.”Also performed in the set were the debuts of “Free Thought,” which would later appear as “Mozambique,” and a “jam” that would evolve into “Last Tube.” In between these songs, all that soon morphed into polished staples of Trey’s solo act in 1999, the band played four other pieces including the punk-inspired “Silicone Fairy” and a cover of Stevie Wonder’s “Higher Ground.”

Event Poster

The band’s sound that night in April 1998 was raw, as this was the one and only show The 8 Foot Fluorescent Tubes ever played together. But something was there. Trey liked what he heard so much that he plucked the band’s rhythm section of Markelis and Lawton and brought them into The Barn to jam, thus beginning the the power trio—the first incarnation of The Trey Anastasio Band. The trio soon made their debut at the Very Special Arts Vermont benefit at Higher Ground, but would come together in earnest a year later, hitting the road as The Trey Anastasio Band in May of ’99. Touring in the same acoustic/electric format of Trey’s upcoming winter run, the trio threw down extended second sets filled with sweltering dance fury, in what were, perhaps, the most spectacular shredding guitar showcases Trey has ever played. But a year before he ever hit the road as a solo act—a project that would balloon to an eleven-member ensemble before returning to a quartet in 2008—Trey’s solo career was sparked with one under-the-radar gig in Burlington, Vermont.

Here’s the original setlist:

I. Bing Bong, Wee, Free Thought, Mr. Green Man, Naturally to Blame, In the Mood, Silicone Fairy, Jam > Higher Ground

Here’s the translation:

I. First Tube, Sand, Mozambique, Meatman, Shame, In the Mood, Silicone Fairy, Last Tube > Higher Ground

4.17.98 – “First Tube” debut

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Jam of the Day:

Ghost > She Caught the Katy” 7.21.98 II

Before Worcester’s recent bust-0ut, the last version of “She Caught the Katy” came out of Desert Sky Pavilion’s “Ghost” during the summer of ’98.

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DOWNLOAD OF THE DAY:

4.11.1991 The Cave, Carleton College – Northfield, Minnesota SBD

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Carleton College

Here’s another ’91 SBD, famous for Fishman’s telling of “The Prison Joke” during the encore, not to mention plenty of on point playing throughout.

I: Runaway Jim, Cavern, Paul and Silas, Tweezer, Magilla, Dinner and a Movie, Bouncing Around the Room, Foam, Carolina, You Enjoy Myself, The Squirming Coil, Chalk Dust Torture

II: My Sweet One, Reba, Llama, TMWSIY  > Avenu Malkenu > TMWSIY, The Lizards,Split Open and Melt, Lawn Boy, The Landlady > Destiny Unbound, Mike’s Song > I Am Hydrogen > Weekapaug Groove

E: Fee, HYHU > The Prison Joke > HYHU, Possum

Source: SBD

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Trey Tour 2011

Posted in Uncategorized with the tags , , on January 14th, 2011 by Mr.Miner

Classic TAB - 2.11.10 - Philadelphia, PA (Nick Fazzini)

Following a similar schedule as last year, days ago, Trey announced a two-week tour Classic TAB tour over late-February and early-March with the well-loved lineup of ’09 featuring Tony Markelis (bass), Russ Lawton (drums), Ray Paczkowski (keyboards), Natalie Cressman (trombone), Jennifer Hartswick (trumpet), and Russell Remington (tenor saxophone and flute). Though the timing of his tour is similar to last year’s, 2011′s circuit will bring his Classic TAB ensemble to the west coast for the first time since re-uniting the band in 2008, and will feature one solo, acoustic set and one electric set — the original set up of Trey’s power-trio tour in 1999.

2.19.10 (C.Smith)

Starting in Portland, Maine on February 18, and winding their way to Oakland, California on March 5, Trey’s band will play twelve shows primarily in the east while also hitting Chicago, Denver, Los Angeles and the Bay Area. Denver is this year’s luck winner as the only city to host two Trey shows, as every other city will be one and done. Playing intimate clubs and theatres, Classic TAB will hit only one room with any Phish history in Albany’s Palace Theatre on February 19th. Otherwise, besides the recently refurbished Fox Theatre in Oakland, no venues jump out as particularly special or unique; but that never stopped Trey from tearing a room apart.

While 2010′s TAB tour provided stepping stone for Trey to hone his still-improving chops between Phish tours, this year, his skills won’t be in question. In fact, it was last year’s Trey tour that many fan’s pointed to as the time they really heard the Trey of old emerge. With more freedom in a band created as a personal showcase, Trey could liberally explore solos while also practicing rhythm textures when the horns took the lead. Always a breeding ground for new Phish material, we will likely see a couple up-and-comers for summer tour along the path of Classic TAB. If addition, we’ll likely hear “Liquid Time” resurface after a year of wondering when it might debut in Phish’s repertoire.

2.20.10 (M.Nast)

Having found a renewed stride with his solo band last year, Trey revamped many songs with lyrical horn arrangements written in collaboration with Don Hart of Orchestra Nashville. With the addition of now-20 year old, Natalie Cressman on trombone last year, and Russell Remington on tenor sax and flute, the powerful chops of TAB-mainstay, Jennifer Hartswick, gained some stellar brass accompaniment. And with the core of Tony, Russ, and Ray — who go it alone with Trey for portions of the show — Classic TAB has never been stronger. Ever since Trey downsized TAB, focusing less on conducting and more on playing guitar, the blazing solos and six-string drama displayed of his earlier tours came back to life. And with Red’s current state of shreddery, we are sure to see some fireworks next month.

Ticket presale for these shows begins today, January 14, at 10 AM Eastern, and public on-sales start a week later on January 21.

TREY and CLASSIC TAB ACOUSTIC/ELECTRIC WINTER TOUR

2/18 – State Theatre – Portland, ME

2/19 – Palace Theatre – Albany, NY

2/20 – House of Blues – Boston, MA

2/22 – Terminal 5 – New York, NY

2/23 – Electric Factory – Philadelphia, PA

2/25 – StageAE – Pittsburgh, PA

2/26 – Lifestyle Pavilion – Columbus, OH

2/27 – Riviera Theatre – Chicago, IL

3/01 – Ogden Theatre – Denver, CO

3/02 – Ogden Theatre – Denver, CO

3/04 – The Music Box – Los Angeles, CA

3/05 – Fox Theater – Oakland, CA

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Jam of the Day:

Twist” 1.1.11

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DOWNLOAD OF THE DAY:

I’ll be back on Monday with new selections and requests from the archives. Feel free to send requests at anytime to mrminer@phishthoughts.com

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“The Ocedoc” – Trey’s Magic Guitar

Posted in Uncategorized with the tags , , on August 23rd, 2010 by Mr.Miner

Trey and "The Ocedoc" (Butter)

One constant throughout Trey’s career has been his Languedoc guitars. While other guitarists switch between instruments for different songs and effects, Trey always slung his one trusty guitar over his back. Having gone through several versions in his twenty-year career, Trey’s Languedoc produced the soul-tugging tone that legions of fans fell in love with throughout the 1990s. His guitar tone defined the band’s sound for years and his axe never failed him. Thus, when Trey took time to publicly unveil his new guitar at The Greek with the following introduction, everyone took notice.

…He [Paul Languedoc] told me about nine months ago, that he had put aside this magic piece of wood to build one last, really special guitar. And he gave it to me about a week ago, and this is it – [presenting guitar to the crowd.] And I’ve just to to say that I’ve just been freaking out all night about how good this guitar is – it’s the magic guitar…

8.10.10 (G.Lucas)

Well, after only one tour with his guitar, the magic piece of wood has completely bolstered the sound of the band. One would have to be three sheets to the wind to not notice the considerable effect his new piece has had on Phish. After The Greek, the band posted mouth-watering pictures on Facebook of the new guitar with a gorgeous Ocelot inlay. After seeing these images, fans immediately dubbed the guitar the “The Ocedoc” and the legend had began.

But the real story of The Ocedoc played out night after night, and set after set, as Trey continuously carved through the music with his new sonic juggernaut. Carrying a much fuller tone that never reached the treble-heavy peaks of his last guitar of legend, The Ocedoc sounds obviously superior to his all his prior instruments. Rich and deep, resonant and nuanced, Trey’s magic guitar holds the low-end sustain incredibly well, and his micro-control of its voice is striking. Just as importantly, Trey’s bolstered tone provides a far more congruent match for Mike’s unusually broad range of sounds.

Put into play, The Ocedoc sounds stronger than ever in wide-open shredding, but it is the intricate control Trey exhibits within the band’s collaborative jams where his new guitar becomes most effective. His enthusiasm and propensity to contribute creative leads with his shining toy severely decreased his use of the whammy pedal (aka “The Whale) throughout the second leg, resulting in far more intense and creative jams. Without dominating pieces with overwhelming solos or responding to his band mates with copious pitch-bending, The Ocedoc’s responsiveness allowed Trey to contribute with both passion and finesse to the most exquisite jams we’ve heard in years. From “Reba’s” to “Hood’s” and from “Lights” to “Tweezers,” the difference made by The Ocedoc in Phish music became staggering. Like a kid at play with the coolest toy he’s ever had, Trey took the stage night after night, slaying everything in his path.

Trey and the 'Doc (Butter)

I noticed a palpable difference in The Greek’s “Maze” and “Tweezer” before he told us about his magic guitar, though I thought the difference was on my end, or due to The Greek’s pristine acoustics. But lo and behold, what I heard were not aural hallucinations, but the dawning of a new age – The Era of The Ocedoc. Audibly stronger as the tour progressed, check out Trey’s work throughout Alpine’s two nights for particularly vibrant examples of The Ocedoc out at play. With his magic guitar leading the way, Trey and Phish are ready to take fall tour by storm in what is quickly becoming a highly-anticipated, small-venue, run of shows. Look for an announcement sometime today to find out when your next chance will be to follow The Ocedoc!

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Jam of the Day:

Light” 8.7.10

This epic Greek tale peaked many summer versions of “Light” with a piece of improv that transcended time and era. Pure Phish…

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DOWNLOAD OF THE DAY:

8.7.10 The Greek Theatre, Berkeley, CA < Torrent

8.7.10 The Greek Theatre, Berkley, CA < Megaupload

8.7.10 Pollock

The peak of Phish’s run at The Greek, with a second set that rivals any since the return. Much more to come about this amazing evening by The Bay.

I: AC/DC Bag, Foam, Gotta Jibboo, Reba, Sleep Again, Army of One, Poor Heart, 46 Days > Tube, Character Zero

II: Wilson > Light > Twenty Years Later, Harry Hood, Theme From the Bottom, Also Sprach Zarathustra > Suzy Greenberg* > Slave to the Traffic Light

E: The Lizards, First Tube

* w/ “Suzy” Reprise jam

Source: Schoeps mk22> KC5> CMC6xt> EAA PSP-2 + Schoeps mk4v> KC5> M222> NT222> Lunatec V3> SD 744t (@24bit/48kHz) (Taper – taylorc)

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