As the Cincinnati weekend came to a close, fans dispersed back across the country with plenty of tales to tell.  With only three shows before Nassau, the date that everyone had circled on their calendars when this tour was announced, Phish’s winter momentum was snowballing.  Two nights after a hot show in Worcester, Phish returned to the scared stomping grounds of Nassau Coliseum- the site of half of The Island Run and, more significantly, the divine events of 4.3.98.  Having stopped there only two other times in 1999, for a pair of wholly underrated shows, the communal anticipation of something huge in Nassau was building.  And huge would turn out to be an understatement.

The first set shone with the band’s second consecutive top-shelf  “Gin”- the first since Cincy’s standout escapade- and the eternally sought after oldie, “Destiny Unbound,” played for the first time in 791 shows (11.15.91).    The overwhelming excitement following this set filled the arena, and had it buzzing like a hornet’s nest during the break.  Yet when people eventually left the Coliseum on this last night of February, their memories would hardly be focused on the first set.

Having only dropped one “Tweezer” thus far on tour- a monster version in Chicago- Phish was due to break out one of their most popular jam vehicles.  As fans assumed their places for what was obviously going to be massive set, the opening lick of the song bled from Trey’s Languedoc.  Boom!  Just like that,  we were amidst a set-opening “Tweezer” that was most certainly heading to great places.  Where- we didn’t know- but there was an overwhelming aura of greatness that surrounded the composed section of the song.

As we prepared ourselves to enter the Freezer, Phish built up the maniacal, noisy peak before we collectively took the plunge.  As the final phrasing of the melody oozed into the jam, the feeling of potential was limitless.  Jumping right into some lead melodies, Trey joined the band’s directional groove right off the bat.  Moving briskly, Phish pumped through some quintessential “Tweezer” textures before beginning to build the improv outwards.

In a break that left the drums and bass both prominent and reverberating, the music took a distinct turn into the second part of the jam. Feeling the way he wanted the music to move, Trey hopped into the fray with some authoritative leads.  The totality of the jam possessed a laid back vibe as Page tickled the Rhodes in the background and Mike bounced some relaxed patterns.  Trey took front and center, guiding this section of the improv with some quality licks that charted the band’s course.

Soon the music became far quieter, with each member taking their sound down a notch, as Mike and Fish’s mellow, yet popping, groove kept things on track.  It was this moment that set the course for the most triumphant musical passage of the entire winter tour.  With one chord, atop this minimal groove, Trey revved his psychedelic lawnmower, creating a distorted sound that seemed to vibrate and echo like a bizarre elastic band.  The band responded to each guitar chord by slightly shifting their ideas, filling in the space by complementing Trey’s sound.  It was at this point that Trey used an incredibly unique effect and played a series of chords that belonged in a post-modern collage, entering the band into yet a third section of this “Tweezer.”

From this point, the band’s musical ideas fused together as they began to move as one entity.  Mike and Page were straight killing it here, as Trey conceived his next move.  What came next out of his guitar would be a spring of gorgeous, spontaneous melodies that give me the shivers to this day.  This was one of those spectacularly surreal moments that only occur at Phish shows.  The entire band understood what needed to happen and wrapped their groove around Trey’s confessional, creating some of the most sublime music of the year.

As Trey moved right from these awing melodies into a pattern of distorted chords in which he would echo himself, the band truly hit their stride.  This was the bliss we chased across the country.  This was IT;  this was what we believed in.  This was the reason for it all.  The crowd was engulfed by the cosmos, as the universe’s energy, channeled through our four superheroes, rained down upon us.  Trey moved on to some spectacular and divergent playing in which he threw a beautifully dissonant musical boomerang around the venue; each time he caught it, throwing it higher into the rafters.  This section developed into one of the classic passages of music in the band’s history, as its unique playing and spiritual feeling was a revelation to the entire Phish world.

As this section of other-worldly music wound down, one had to presume that the band would wrap up the “Tweezer.”  But it took them less than a minute to transition into a completely different jam all together!  In some far more grounded improv, Phish entered faster, more straight ahead playing that seemed like it had come from a totally different song altogether, perhaps a “Piper.”  The band would gradually meander their way to some bluesy rock and roll, eventually morphing into a scorching jam around Peter Frampton’s “Do You Feel Like We Do?”  Bringing the song to a second, and completely different type of peak, the band chugged forward, knowing what they were in the midst of creating.

Rarely do Phish songs get two distinct jams, but this Nassau “Tweezer” was an anomaly, boasting three completely different pieces of connected improv.  The central jam was so psychedelic and stratospheric that the band decided to slide people back to earth with another ten minutes of improv.  Eventually- a half-hour after it started-  this “Tweezer” turned into heavily muddied sound effects without a beat, signaling not only the end of the jam, but the oncoming drop of another song, as they sustained these effects for well over two minutes.

Out of the depths came some delicate reggae chords from Trey.  What was at first disorienting turned celebratory as the band glided aboard for the second-ever “Soul Shakedown Party” (2.17.97).  Phish clearly recognized how special the evening had become, and gave the nod by dropping the Marley cover out of the deepest part of the show.  As we all know, the band moved right into a hugely sinister “Bowie” out of this reggae interlude, but that is a separate article for a separate day.

The Nassau “Tweezer,” in my humble opinion, stands as the greatest relic from Winter 2003; and can hold its weight in any “all-time” conversation.  A definitive piece of music of the post-hiatus era, this jam sits right at the top of any 2003 compilation.  Signifying their emerging musical direction that would be furthered come summer tour, this “Tweezer” was a masterpiece.  Phish had made quite the return to the hallowed grounds of Nassau, and with one show left in their comeback run, things looked as promising as ever.

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DOWNLOAD OF THE DAY:

9.24.00 Target Center, Minneapolis, MN < LINK

Here is a highlight from the much-maligned tour of Fall 2000.  While Phish may have been losing steam, they still had what it took to pop out legitimate shows- this being one of them.  The second set opened with a fabulous funk turned ambient excursion of “Cities” which wound its dark path into “Free.”  This show also saw the welcomed return of Velvet Underground’s “Cool It Down” for the first time since Halloween ’98, as one of seven covers played this night.

I: Mellow Mood, Chalk Dust Torture, Back at the Chicken Shack, Sparkle, The Sloth, The Divided Sky, Roggae, First Tube, Punch You in the Eye, Sample in a Jar

II: Cities* > Free, Ya Mar, Carini, Lawn Boy, HYHU > Love You > HYHU, Cool It Down, David Bowie

E: Fire

*w/ ambient jam with Trey on keyboards.
Source : Schoeps m222/mk41 > nt222 > AD-1000 (Ken Rossiter)

We sit amidst the six-year anniversary of Phish’s two week comeback run in the Winter of ’03.  As investigated earlier this week, Las Vegas was the springboard for the rest of a phenomenal run that restored our faith in the Phish.  Despite the many highlights  from this fortnight, there were two half-hour jams that were talked about, listened to, and revered more than any other pieces of music on this tour.  These two excursions came to represent all that was right in the Phish universe, signaling that Phish’s improvisational prowess was as healthy as ever; their desire to musically evolve was still ingrained in their ethos.  In a two-part- Friday / Monday- series we’ll check out these two jams-  Cincinnati’s “Bathtub Gin” and Nassau’s “Tweezer.”  Today- the “Gin.”

The Cincinnati weekend marked the halfway point of Phish’s short winter tour, and as the only other weekend stand besides Vegas, these shows drew fans from all over the country.  People needed to see for themselves a reinvigorated Phish, and the they would not be disappointed.

As the band came out for their final set of the weekend, everyone’s juices were flowing.  Dropping a fierce “Tube,” the band and crowd leapt into the fray together.  An infectiously-paced and funkified jam set the tone for the rest of the set; the best was yet to come.  As the band ended their escapade in groove, Trey morphed directly into the intro lick to “Bathtub Gin.”

Wrapping up the composed section, the band got ready for take off and the crowd roared in anticipation of what was coming.  Trey wasted no time in getting started painting some initial melodies onto the musical canvas. But it wasn’t until a couple minutes in, when Mike dropped a heavy groove, that the improv really took off.  Fishman was right with him, and Phish moved directly into some outright dance rhythms.  This initial section of improv was characterized by robust rhythms and gorgeous melodic leads by Trey that fit congruently into the musical space.  Yet this uplifting section seamlessly transformed into something far more exploratory and adventurous.

Like Lewis and Clark exploring the west, the band were on a mission of their own, discovering their new direction for this chapter of their career.  Growing more aggressive and piano-heavy, the jam began moving away from its “Gin”-themed improv into some distinctly post-hiatus grooves.  Trey’s un-compressed edge provided an interesting juxtaposition against his bandmates’ slower offerings.  Then, as if a race horse cracked by the whip, Phish sped up the jam into double-time, creating a totally different, and more aggressive, musical feel.

The band carried a rhythmic gallop into this section of improv, tearing into some enthusiastic full-on playing.  The driving textures of this jam shifted when Page began playing his clav, lending a pseudo-electronic feel to the music.  At this point, the band seemed to hit a place of contentment as they slowed down their pace, peeled away some layers, and dove into a less distorted, mellower musical pond.

Switching vibes all together, the band united in a more abstract place, bringing the improv even further into the unknown.  This is where the jam got extremely interesting.  With almost no beat, Trey began playing, and teasing, the “Gin” lick over a greatly divergent- almost electronic- backdrop.  With Page using extreme effects through his keyboards, Fish creating a shimmering, cymbal-heavy beat, and Mike playing a bizarrely melodic bass line, the band entered some other-worldy territory.  Meanwhile, Trey continued playing forms of the “Bathtub” melody over this demented Phish-tronica canvas.  Phish was molding incredibly unique music, with Page going off in directions unheard before.  Creating an “alternate” version of the song, their improv remained as connected to “Gin” as it was divergent- a wholly new musical experiment.  This was one of those times that Phish took a big risk, and overwhelmingly succeeded.

As Trey played some repetitive licks, signaling to wrap it up, the band and crowd emerged from being immersed in some deeply “other” Phish.  Finishing the jam collectively, and with authority, the band oozed back into a slowed down version of the song’s ending.  Flabbergasted, everyone exchanged looks of wide-eyed amazement as the band took a minute to collect themselves before decompressing with “Friday.”  While many shining moments developed over the week from LA to Chicago, this “Bathtub Gin” was the most divergent and defining musical portrait of the first half of tour.

(All photos from Cincy 2.22.03)

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DOWNLOAD OF THE DAY:

11.6.96 Civic Coliseum, Knoxville, TN < LINK
With Phish about to return to Knoxville this summer, I thought we’d travel back in time to their last performance in Tennessee’s metropolis.  This show took place during the first week after Halloween’s “Remain In Light” performance- when the shows on tour really started to take off.  The second set is held down by a large “Mike’s Groove,” while the first is bookended by “Split” and “Bowie.”  Check out this under-circulated nugget from Fall ’96

I: Split Open and Melt, Cars Trucks Buses, Fast Enough for You, Taste, Train Song, Poor Heart, Punch You in the Eye, Billy Breathes, David Bowie

II: Wilson, The Curtain > Mike’s Song > Swept Away > Steep > Weekapaug Groove, Scent of a Mule, Sample in a Jar, Funky Bitch

E: Rocky Top

Poking around the Internet yesterday, I stumbled upon some new Phish music!  Posted in multiple Phish forums was the complete version of The Victor Disc, a series of instrumental outtakes from a 2002 jam session.  I had posted the first three tracks on Phish Thoughts recently, but now we have uncovered all ten tracks to the mysterious quasi-album!  The story behind the recording is as follows.

The overwhelming feel of the album is organic improvisation.  Looser than most Phish music, The Victor Disc is a portrait of a band reacclimating to each other by simply playing together.  With no particular goal in mind, the band got into the studio and let it flow.  If The Siket Disc was focused on psychedelic soundscapes, The Victor Disc is focused on looser jazz-based improvisation with a distinctly Phishy twist.   When digging into the extensive album, one will find that the first few tracks that had leaked onto the Internet are hardly the highlights.  Totaling two hours and twenty minutes of pure Phish improv, there are some golden moments hidden within.  Since we have already heard the first three tracks, let’s look at some of the other, far longer, offerings.  (You can download the entire album below via torrent.)

“Victor Jam Session” 11:20

This segment of improv passes through many Phishy textures, starting in a noodly territory and meandering through various loose musical feels.  Eventually, this track picks up some momentum, and the band locks into some rolling patterns.  Mike steps up to take the lead, and the band locks onto his bass line creating minutes of extremely cohesive Phish music.

“Sky Train Wand” 17:24

Beginning solely with a sparse drum beat, Trey slowly layers some rhythm licks into play, inviting Mike and Page to subtly step into the quiet medium.  Sounding like a hybrid of reggae and jazz, Phish is off creating another unique slice of improv.  Illustrating the patience that became a huge part of 2.0, this jam uses space as much as it uses notes.  What is great about these extended “glimpses” into Phish’s private world is that we get to see a raw picture of the band offering new and original musical ideas with no preconceptions whatsoever.  While this point is reached in shows, there is always a context to the music; yet behind closed doors, we get to see a bit deeper into the band’s experimentation and imagination.  The second half of this “jam” sees Trey and Page combine to play beautiful leads over the open backdrop before the band congeals back together.

“Blue Over Yellow” 15:30

Trey carries a thematic lead melody over a unique pocket formed by Mike and Fish during this outtake.  Sounding like he is playing around with the “Banana Pudding” melody, Trey draws in Page’s piano accompaniment and the band engages in a methodical, cooperative groove.  Page adds quite a bit of tonal color to this segment of music, as the band locks into a series of slowed down hits- all very much on the same page.  Fish leads them out of this section as the band remains locked and incredibly loose.  In the second half of this track, they gain more of an edge, lending some harder, more dissonant sound to the mix.  The entire band is moving like a single-celled organism on this track (and on most of the disc, for that matter.)  This is a laid back, yet engaging, piece of music.

“Guantanamo Strut” 17:22

Divergent from any of the previous tracks on this album, “Guantanamo Strut” starts right in with a harder rock feel.  Trey uses a much louder tone at the beginning of this piece than on any other (except the last track.)  Maintaining a jazzy beat behind the more straight ahead accompaniment, Fish maintains a rhythmic focus to the track, while Page lends piano chords that returns a jazzier feel to the improv.  One of the two most groove-based tracks, this jam possesses real musical diversity, and doesn’t stagnate in any one place.  Segueing back into a jazzier feel, the band locks into some interesting patterns that sound like they could be derived from a jazz version of “Stash.”  Building out a legitimate groove, the band explores in a free-form way, sounding like they are playing in a late-night smoky jazz club.

About two-thirds of the way through, the music becomes much more Phishy as Trey begins to access his more signature sound, creating sustained melodic leads, causing the music to sound like an ambient Phish jam you might hear at a show.

“35 Minute Jam” 35:33

By far the longest “track” on the album, “35 Minute Jam” moves through several different improvisational realms.  Stylistically fitting with the album’s loose playing, the start of the track possess a “louder” feel than much of the delicate Victor Disc. For the beginning of the jam, the band maintains a blues-rock feel before switching gears into a far more mellow milieu.  As if they changed songs on a dime, this track’s second section become very quiet and beautiful, moving into an sparse “ambient” place.

The jam winds down into near silence for some minutes before Trey begins to add some happy rhythm chords to the barely existing canvas, inviting Mike and Page back into the mix.  Taking their time, and with precision, the band continues to morph in and out of some minimalist patterns.  Soon, the band jams back down to virtual silence again, this time with Mike leading them back out. Progressing into an interesting musical narrative, Trey plays more conventional patterns; albeit at a slowed tempo.  Gradually slipping into a drone pattern, the band unites in some improvised starts and stops, illustrating their cohesiveness and focus.

“Heartache”  0:34

This is tiny interlude that features a melancholic piano-led pattern that is gone before it really starts.  The only lyrics on the album appear for a few seconds on this track- a sample of a woman wistfully saying something indiscernible about about heartache.

“The Last Victor Jam” 24:23

This track starts in with the most aggressive musical palette on the album, jumping in seemingly mid-jam when the band has already built some musical momentum.  While remaining firmly rooted in piano-led jazz, this track has more drive to it than all the others.  Moving a bit faster, Fish holds the framework of this musical stew as Page really stands out.  As it builds, this “jam” finds a distinct direction and follows its course, creating the sound most similar to live Phish that exists on The Victor Disc.  As the jam moves on, the band returns to the jazz aura of the session, while still holding onto their more direct path.  A definite album highlight, “The Last Victor Jam” puts a nice cap on this series of instrumental Phish.

At last, the mystery of The Victor Disc has been revealed.  In a collection of extended instrumental outtakes, Phish painted a portrait of where they were in December 2002, on the verge of stepping back onstage at Madison Square Garden for their second go-round.  Now, on the verge of part three, we can look back, listen, and reflect on a time gone by.  More extensive, yet less polished, than the “scrapbook-psychedelia” of The Siket Disc, The Victor Disc allows us to peek in on Phish with a completely different mindset than they had while creating its ’99 counterpart.

DOWNLOAD THE VICTOR DISC NOW < TORRENT LINK

1. Lazy and Red (5:57)
2. Den of Iniquity (9:55)
3. Bubble Wrap (4:34)
4. Sky Train Wand (17:24)
5. Blue Over Yellow (15:30)
6. Guantanamo Strut (17:22)
7. Victor Jam Session (11:19)
8. Heartache (0:34)
9. 35 minute jam (35:33)
10. Last Victor Jam (24:23)

(Track titles are questionable)

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MAYBE SO, MAYBE NOT- THE DOCUMENTARY

Fan and filmmaker, Noah Wilderman, is in the midst of a documentary project that examines the evolution of the Phish community- “Maybe So, Maybe Not.” In Noah’s own words:

The Phish experience is an important cultural phenomenon, embodying the journey of my generation in many ways.  I’d like to tell that story.  Quite simply, now is the time to tell this particular story because this generation is coming into its own, personally and politically.  Our journey through life has been to a soundtrack that seemed to match the beats of many lives step by step.  By analyzing both the timeline of Phish side by side with the tides of the generation, we can see how closely they are linked and signify the relevance of Phish in the lineage of a century of influential music communities with a historical perspective.

If you’d like to support film making efforts, they have started a grassroots fundraiser with the goal of getting each participant to donate $5.  If you’d like to be in the film, get in contact with the producers.  With only a few weeks left, every person following along and every $5 is huge.