Though it is early in the Phish off-season, some noteworthy pieces of news have already made a splash in early 2011.
*****
# 1 – Last week, Phish made a buzz in the audiophile sector of the fan community by announcing the re-mastering and upcoming release of three shows from the first leg of 2010’s Summer Tour. The shows selected for audio collaborator, Fred Kevorkian’s treatment were Merriweather’s “I Saw It Again” escapade from 6.27, and the Alpharetta stand from July 3rd and 4th. These shows will be available on iTunes beginning tomorrow, January 18, and a limited number of CD versions of these re-masters will be sold in stores and online. When hearing three shows from Leg I were selected, I immediately thought it was an odd decision, since there were so many great shows after July 4th last year. But soon after I had that thought, Hidden Track uncovered the nugget of information I was waiting to hear. On Allmusic.com, Phish’s discography is now completed by releases from 8.6, 8.7, and 8.13.2010 — the second two shows from The Greek Theatre, and Deer Creek’s second show. Giving The Greek its proper due, the next round of remasters will juice up, arguably, the two most creative shows of summer and Phish’s twentieth-ever show from the cornfields. Unsure when this next round will hit the streets, they are, evidently, in the works.
Merriweather Post – 6.26.2010 – (Graham Lucas)
This news continues the trend of Phish releasing remastered audio and video footage of their recent performances. Why, one might ask, would Phish bother selling such recent material? Well, the simple reason is that fans will buy it now. People want mementos, and in this case the ability to re-listen to, their treasured experiences. It’s the same reason behind marketing downloads, posters, magnets, and other merchandise — there is an immediate market for the product. Why not archival releases, one might ask — relics from their heyday? I have no question the classics will come, but that is, likely, the band’s long term plan–especially after retirement. Phish knows that they are sitting on a goldmine of archival material, and when the end of the road does finally come, there will be plenty of golden-oldies to drop on the us. They know that any well-chosen release from 1993-1999 will sell like hotcakes in the fan community, so there is no real incentive to push them out now. We’ll ultimately get more remasters from the wheelhouse of Phish’s first era, but not likely any time soon.
Hampton ’09 – ( J.DiGiuseppe)
# 2 – The second buzz-worthy piece of news is the rabid rumor that Phish will return to Hampton Coliseum for a three-night run over Memorial Day weekend, perhaps to kick off Summer Tour. The rumor has leaked from all the reliable sources and Hampton is booked solid for May 27-29. Since getting wind of the rumor, themselves, many hotels have ixnayed their cancellation policies as well as jacked prices considerably. And when rumors develop to this an extent, they most often come to fruition. If so, this will mark Phish’s first visit to The Mothership since their comeback in March of ’09, and they would return as a different band then the tentative quartet of yesteryear. Throw this rumor together with the looser buzz of a July 4th festival in Watkins Glen, New York, and Phish could, perhaps, have a marathon, five-week summer tour. But that sounds totally out of place for this day and age, so your guess is as good as mine. Hampton, however, seems to have to some real weight behind it, so hopefully we’ll be meeting at The Mothership in May.
This show goes out via reader request for Jeff T. who “honestly can’t remember it that well,” but remembers “a smoking “It’s ice” jam and of course the bluegrass section was killer, too.” Enjoy the trip down memory lane, Jeff, hopefully the recording can fill in the missing spaces! (Note: Look out for the fierce second set “Tweezer.)
I: Rift, AC/DC Bag, Julius, The Horse > Silent in the Morning, It’s Ice, Tela, Split Open and Melt, Little Tiny Butter Biscuits*^ , The Old Home Place*, My Long Journey Home*
*acoustic with the “Reverend” Jeff Mosier, w/ Reverand on banjo, ^debut
Source: Unknown
Though it is early in the Phish off-season, some noteworthy pieces of news have already made a splash in early 2011. ***** # 1 – Last week, Phish made a buzz in the audiophile sector of the fan community by announcing the re-mastering and upcoming release of three shows from the first leg of 2010’s …
***** “Harry Hood” 12.28.2010 II ***** “Seven Below > What’s the Use?” 12.27 2010 II ***** “Stash” 12.28.2010 I All Videos by mkdevo ===== Jams of the Weekend: “Pigtail” 12.28 I Without many noticing, Phish debuted the newest Anastasio/Marshall effort, and their most impressive new song of the year. [audio:https://phishthoughts.com/wp-content/uploads/2011/01/ph2010-12-28t06.mp3] *** “Wolfman’s Brother” 12.28.I 2010’s …
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
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
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 …
Phish delivered the most explosive set of the Holiday Run right in the wheelhouse of Madison Square Garden’s three-night stand. While January 1st may have boasted a more complete overall show, no frame matched the big city setting better than the monstrous music of New Year’s Eve centerpiece. On, arguably, the nations biggest stage on the most celebrated night of the year, Phish used their middle frame to throw down an iconic holiday set of music that featured some of the band’s most exemplary playing of their five-night run.
12.31.10 (G.Estreich)
Reigning in the entire audience with the Gamehendge, call-and-response anthem, “Wilson,” and then lighting The Garden aflame with the over-sized arena rock of “46 Days,” the pot was already boiling when Trey strummed the opening chords to “Sand.” A song that transformed from a platform for guitar bravado into an earnest whole-band conversation this fall, “Sand’s” final version of the year flooded the room with adrenaline. As Phish completed the brief lyrical section, they took a swan dive into some of their most dynamic improv of the night. The entire band played off Trey’s staccato licks — echoing, altering, and responding to his signature patterns. And within no time at all, the band engaged in a rhythmic boxing match, bobbing and weaving like Ali and Frazier in the same building 39 years earlier. With melodies dancing around each other like prize-fighters, Trey, Mike, and Page threw down several rounds of scorching interplay within a ten minute journey, all contained by Fishman’s squared-circle. Drawing raucous mid-jam roars from the juiced onlookers, Phish took this jam to the top in the, difficult-to-dispute, version of the year.
After a mid-set interlude of “NICU,” Phish got right back to business with the defining sequence of the set, and the night. The adventure began with the opening bass rumbling of “Down With Disease,” and continued right through the song’s high-speed rock and roll into a slowed down, menacing segment of music. As Phish slid smoothly into “Ghost,” one could feel The Garden inflate with excitement and energy. And following the path of an inspiring and uplifting jam, “Ghost” drove these initial emotions into the heavens. Playing the defining rendition of the song for the modern era, Phish sculpted a start-to-finish masterpiece that peaked with seething catharsis. Mike handed the lead to Trey amidst an uber-slick groove that never hiccuped for a second while bringing the show to its undeniable peak. After passing through minutes of smooth dance music, the band hit a collective harmony and ran for the sunset, rejoicing in a final segment of guitar-led, soul-tugging victory. Taking the jam to mountaintop and bringing 20,000 participants along, Phish molded the communal energy like Play-Doh in a frozen moment that will live forever in the MSG history.
12.31.2010 (Ryan Gilbertie)
And at the highest point of the evening, the band dropped into the opening arpeggios of their seminal piece, “You Enjoy Myself.” Precisely nailing the opening half of a piece that always shines at The Garden, when Phish dropped into the funk, the room became an aquarium of liquid grooves. Tickling the initial jam with what seemed like another “Manteca” tease — a playful theme of the fall, if not the entire year — the band, instead, broke into the full-on Dizzy Guillespe groove, with lyrics, for the first time of 2010. Segueing back into “YEM,” they continuously toyed with “Manteca,” singing “Crab in My Shoemouth,” within musical breaks for the duration of the jam, further amping the crowd with a display of musical Phishiness. Punctuating the set with series of sharp and styling grooves while drenching the building with unparalleled spirit, Phish had just dropped a masterpiece, and midnight was yet to come.
Though other sets brought different qualities to the table, New Year’s Eve’s second set blew up in a white-hot showcase of arena Phish that was dotted with some of Trey’s most impressive playing of the run. With Madison Square Garden in the palm of their hand once again, the band delivered another chapter of New Year’s lore than will find its rightful place in our eternal picture book of holiday memories.
Phish delivered the most explosive set of the Holiday Run right in the wheelhouse of Madison Square Garden’s three-night stand. While January 1st may have boasted a more complete overall show, no frame matched the big city setting better than the monstrous music of New Year’s Eve centerpiece. On, arguably, the nations biggest stage on …
While the rumors have already started to roll in about 2011’s summer schedule, let’s pause for a moment to reflect on Phish’s transformational year of 2010. The band rung in the year with four significant shows in Miami that represented a huge step forward in their improvisational cohesion. Blowing away the unexpectedly contained playing of Fall ’09, Miami brought Phish into the new year with a bang. And though the future seemed much brighter after Miami’s holiday run, it remained to be seen how six months off would treat Phish’s newly re-discovered chops.
*****
6.27.10 – Merriweather (Graham Lucas)
After practicing for several days at UIC Pavilion in Chicago, the band kicked off Leg I of Summer Tour on June 11, with a two-set juggernaut at Toyota Park that inaugurated Phish into 2010. On a tour that will forever be remembered for Trey’s prominent use of his whammy pedal — better known as “the whale” — Mike began to gain more prominence in Phish’s music as Trey slid back with his minimalist offerings. This welcome trend continued throughout June, and by the time the tour ended in Alpharetta, Georgia, Mike had become as much of a leader of Phish’s jams as Trey. This two-headed musical leadership would mature throughout the year, as both guitar players worked symbiotically through most all of the band’s improvisation. In addition, June’s leg featured a wide array of bust-outs and one-time covers, spicing up setlists with the unexpected night in and night out.
Phish carried their momentum of their top-notch tour opener to Blossom (where they played, perhaps, the jam of June in “Number Line”) and Hershey, starting the tour on a tear. But over their stretch in upstate New York and New England, their consistency dipped before coming back with a vengeance over the tour’s peak weekend in Camden and Merriweather. The band broke through to the other side with Camden’s “Chalk Dust” and then “Light,” while Merriweather took things to the next level with a spectaular “Rock and Roll” and the seamless “I Saw It Again”-themed second set on 6.27 that was centered around a sprawling “Piper.” Much to the dismay of many fans, Phish’s Southern run never reached the heights of their Mid-Atantic showcase, though the band’s July 4th stand in Alpharetta provided a fine consolation prize.
*****
6.27.10 – Merriweather (Graham Lucas)
But the second leg of summer tour is when modern-era Phish took off in earnest. August began a next-generation transformation that would conclude during a universally-loved fall tour and an outstanding Holiday Run. Starting out on a hilltop in Berkeley, California, Phish played three of their most creative shows of the entire year at The University of California’s Greek Theatre. With pristine acoustics in the classic stone setting, Phish threw down many open-ended jams that met with smashing success, highlighted by of one summer’s defining pieces in a sublime and exploratory “Light.” Focused more squarely on open jamming than at any other time in the year, Phish also wove tales of wonder out of “Disease,” “Rock and Roll,” and “Simple,” while embarking on top-shelf versions of “Cities,” “Bathtub Gin,” “Tweezer,” “Harry Hood,” “Suzy (plus Reprise)” and “Slave.” But more significant than any of these individual jams was the introduction of Trey’s brand-new, “magical” guitar — “The Ocedoc.” Revolutionizing his tone and modern style of play, his new guitar facilitated the red-headed Jedi’s return to prominence — a process that would be solidified during August’s second high-water mark at Alpine Valley.
Alpine 2010 DVD
Peaking the summer with four scintillating sets of music, Phish threw down a near-perfect show on August 14, and a raucous affair that matched musical might with the Goliath-sized venue on night two. In addition to hosting another of summer’s defining jams — a ripping-turned-psychedelic “Disease > What’s the Use?” — Alpine also turned into a weekend-long guitar showcase in which Trey fully found his mojo again, leading jams with power and creativity. As illustrated through his play in “Reba,” Antelope,” “Bowie,” and “Ghost,” Trey’s skills had caught up to his classmates’ and Phish morphed into the four-headed monster of lore. Taking this new found confidence to Jones Beach, Phish finalized the summer with two top-to-bottom efforts that included another jam of summer in a transcendent “Number Line.”
In between these two peaks of August, Phish traveled deep into the Rockies for one of the most special weekends of the year in Telluride, Colorado. With everyone you knew within a few town blocks, a veritable Phish festival at the end of the street, and a to-die-for natural setting, Telluride became a communal experience that transcended the shows. But there was some great music as well, including the most impressive “Piper” of summer and a supernatural “Carini.” Deer Creek, though one of the more hallowed venues in Phish history, proved to be somewhat of an exhale after the high-key west coast shows and before the Alpine shows-turned-DVD-release. But when summer ended, Phish had made another step forward in their playing and their jamming with fall tour yet to unfold.
*****
While Fall 2009 wound up bringing some stagnation to the Phish’s play, a notably downsized Fall 2010 would have the opposite effect, catapulting the band into their current golden age with the best playing since their return. On a retro-tour that caught fire in earnest on the second night of South Carolina, Phish reinvented themselves in a week of musical adventure that tore through Augusta, Maine — featuring a sacred “Reba,” Utica, New York, and Providence, Rhode Island. In the veritable ghost-town of Utica, New York, in the middle of the week, Phish threw down, arguably, the show of the year, fusing an old-school playfulness with a powerful display of new-school musicianship. Phish dropped another mid-week bomb in Manchester, New Hampshire — highlighting “Light” and “Ghost” — that set up Atlantic City’s Halloween trifecta.
Three-nights on the Jersey shore proved to be just what the doctor ordered, as Phish punctuated fall with three stellar nights of music. Carrying a full head of steam into fall’s final weekend, Phish did not disappoint anyone who traveled to the tourist Mecca, playing three universally-loved shows with all sorts of highlights. But the defining moment of the weekend came in Phish’s sixth musical costume, Little Feat’s Waiting For Columbus. Bringing one of rock and roll’s most acclaimed live albums to life in Boardwalk Hall, Phish emulated some of their heroes while throwing down an groove-based, ’70’s style dance-party for the ages. When fall tour concluded, the entire community — young and old — seemed to have fallen back in love with the band that once courted their heart.
*****
12.31.2010 – “The Meatsick” (Gerorge Estreich)
Taking things back to their geographic roots, Phish played an unprecedented five-night New Year’s Run in Worcester and New York City that contained some of the year’s most memorable jams in “Seven Below > What’s The Use?,” “Harry Hood,” “Tweezer.” “Ghost,” and “Simple.” And finally — out of “You Enjoy Myself” — the band culminated a year of musical hints and teases by breaking into a long-awaited “Manteca.” Beyond the music, Phish orchestrated a global “Meatstick” convention, kicking in 2011 with their hot d0g of legend and a choreographed parade of Broadway performers who helped Phish pull off their grandest midnight moment of all-time. Without going too deep into topics freshly discussed, Phish concluded the year with musical exclamation point in New Year’s Eve second set, and opened 2011 with 1.1.11’s equally potent second half. Finishing the year by rocking the The Garden, a round room that has become their de facto New York residence, it looked like smooth waters ahead as the band embarked on the their third year of chapter three.
Hampton for Memorial Day? The game rolls on…
*****
2010 Post-Season Awards
Type II Jam Vehicles– First Team:“Light,” “Rock and Roll,” “Simple,” “Piper,” “Ghost”
Type II Sixth Man of the Year:“Carini”
Type I Jam Vehicles– First Team:“Sand,” “Bathtub Gin,” “Tweezer,” “David Bowie,” “Stash”
Type I Sixth Man of the Year:“Slave to the Traffic Light”
2010 Improvisational MVP:“Light”
Show of the Year: 10.20.2010 – Memorial Auditorium, Utica, New York
Comeback Player(s) of the Year:(tie) —“David Bowie” and “Sand”
Most Improved Player of the Year:“Twenty Years Later”
All-Rookie Team:“Halfway to the Moon, “Show of Life,” “Summer of ’89,” “My Problem Right There,” “Pigtail”
Bust Out of the Year:“Fuck Your Face” – 7.1 Charlotte, NC (4.29.1987 – 1,413 shows)
While the rumors have already started to roll in about 2011’s summer schedule, let’s pause for a moment to reflect on Phish’s transformational year of 2010. The band rung in the year with four significant shows in Miami that represented a huge step forward in their improvisational cohesion. Blowing away the unexpectedly contained playing of …
