As I sat at my computer yesterday, I pondered how in the world I would come up with “Miner’s Picks” for such an extensive Summer that was strewn with so much spectacular music. Summer 2011 was the first tour of Phish’s Golden Age that truly held up to tours of old. The creativity was back, new jamming styles developed, and Phish pushed the improvisational envelope like never before since their return. Back in 2009, many fans doubted if the band would ever achieve the heights reached this very summer. In 2011, the band wove timeless music again—music that not only brought us back to a place we once knew, but also brought us forward into spaces yet discovered.

Summer 2011 brought all that and then some. Beginning with the very first show in Bethel on May 27th, things felt different. The band’s confidence and risk-taking was front and center  in a way we had rarely seen through 2009 and 2010. After catching up to speed in the first two years of their return, Bethel began a summer of reinvention—a process we’d been waiting two-plus years to witness and left us with a trail of amazing highlights. Today I will focus on the opening leg of summer tour and list my favorite jams of June in chronological order. (Many selections have audio accompaniment, as it is Friday and all…)

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“Kill Devil Falls” – 5.27 I, Bethel, NY

In the very first set of tour, one of my least favorite Phish songs blew up into, perhaps, the best version ever. Putting an improvisational focus on the usually rock-based piece illustrated the band’s willingness to take their music to unconventional places.

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“Boogie On -> Waves > Caspian > Crosseyed” – 5.27 II

With this segment of unwavering psychedelia, Phish officially announced “Game on!” for Summer 2011.”Waves” remains one of  my favorite jams of summer.

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“Cities” – 5.28 I, Bethel, NY

In this first-set version, Trey layers a well-phrased and snarlng solo over the whole-band funk—the spark of a standout show.

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“Halley’s Comet > Runaway Jim” – 5.28 I

The jam that everyone had been waiting for—the return of “Halley’s Comet”—rolled out in dramatic fashion, as the band crafted one of my top jams of summer with a prowess and focus applied to the song unseen in ages. This “Halley’s” stands on the top-shelf of summer offerings, and then bled into the reinvention of “Runaway Jim” with the debut of its new “plinko” section. This combo left fans wide-eyed and wondering what type of musical steroids the band was on.

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“Bathtub Gin -> Manteca -> Gin” – 5.28 I

And just when this first set couldn’t get any better, the band dropped a jam that stood out as brightly as any in the entire show. Closing the frame with a groove-centric “Bathtub Gin” that built into a full-blown “Manteca” and then back into the “Gin’s,” Phish absolutely tore the summer wide open with a version that had the venue buzzing at setbreak.

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“Backwards Down the Number Line” – 5.28 II

Though the entire second set stood out in context, as we moved through the entire summer, this is the piece that deserves the most attention. In a summer where “Number Line” didn’t entail much adventure, this morphing version (that still doesn’t totally depart from the theme) contains a meditative musical conversation that shines above most other summer versions.

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“After Midnight” –5.31 II, Holmdel, NJ

To open the main event of the first post-Bethel show, Phish employed “After Midnight” as a jam vehicle for the first time since Big Cypress’ sacred reprise of the song in the wee hours of the morning. And when they did, they spun a groove-based-then-melodic gem that showed us Bethel’s jams were no anomaly

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“Drowned” – 5.31 II

If “After Midnight” set the improvisational tone for the second set, Phish used “Drowned” to take it much further. Passing through gorgeous and abstract realms of sound, the only version of summer was a highlight for the season.

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“Down with Disease -> Fluffhead > Bowie” – 6.3 II, Clarkston, MI

One of the most compelling segments of music in the entire summer. the opening leg, I think we’ve been here before.

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“Sneakin’ Sally through the Alley” – 6.4 II, Cuyahoga Falls, OH

Hyper-funk turned-dissonant psychedelia—the standout jam in a very popular show.

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“Tweezer” – 6.5 II, Cincinatti, OH

Though Phish wasn’t too kind to “Tweezer” this summer, they still eked out two stellar versions, and this is the first. Focusing on whole-band groove, the band locks into an infectious jam that seems to have flown way under the radar this summer. The antithesis of Denver’s melodic mind-meld, this version gets downright dirty on the dance floor.

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“You Enjoy Myself” – 6.5 II

This summer “YEM” became a “rarity.” Appearing only 4 times over 34 shows, this version from Cincinnati is the unquestionable champion. Departing from generic “YEM”-funk, the band closed a dark-horse two-setter with a sparkling rendition of their classic.

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“Rock and Roll” – 6.7 II, Mansfield, MA

An improvisational monster—one of the most impressive pieces of June. I wrote about it here.

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“Golden Age > Mike’s > Fast Enough > Weekapaug” – 6.8 II, Darien Lake, NY

The opening sequence of Darien Lake deserves a place on this list. The first quasi-jammed out “Golden Age” was backed by one of the strongest “Weekapaugs” of the summer. “Mike’s” is still missing in action, a nostalgic shell of its former self.

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“2001 > Harry Hood” – 6.8 II

In a show focused on groove for most of the second set, this combo fit this theme quite well. The most impressive “2001” of the season included prominent “Golden Age” and “What’s the Use?” sections, creating a mash-up of aural delight. The “Hood” departed from its normally intricate rhythms as Fishman caught a groove and band went with it in a divergent and interesting rendition.

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“Stash” – 6.10 I, Camden, NJ

This mid-first set version stood out as one of the strongest pieces from Phish’s 2011 visit to Camden. Though never veering far from the theme, the band, nonetheless, engaged in an intricate and extensive exploration through the song’s darkness.

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“The Curtain With” – 6.10 I, Camden, NJ

Phish closed the set with this cathartic masterpiece. Playing as a single entity, the band reached mind-bending realms of musical cooperation, resulting in a piece a version that needs to be heard to be believed. Truly awesome.

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“Down with Disease > Free” – 6.10 II

This two-song combination seemed to be a single song for the beginning part of the summer, but I’m not sure any of the early-tour “Diseases” that weren’t played in Michigan plunged the depths of this one—a huge momentum builder to kick off the second set. Growling and uncompressed Trey came out to play as the band got serious in New Jersey.

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“Piper -> Velvet Sea” – 6.11 II, Columbia, MD

This “Piper” brought the most intriguing jam in a set that traveled a little bit of everywhere. Within an improvisationally-light two night stand, this excursion stands out as one of the most impressive at Merriweather.

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“Wolfman’s -> Boogie On” – 6.12 I, Columbia, MD

Getting creative in both halves of this funkified combo, Phish would place its most significant jam sequence of the night in the opening set on this evening.

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“Light Up or Leave Me Alone” – 6.14 I, Alpharetta, GA

Page and Trey absolutely tear it up in this always welcome bust-out and no-brainer highlight of Alpharetta.

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“Down with Disease > Maze” – 6.14 II

This sequence opened Alpharetta’s second set in style, as “Disease” found ambient musical textures and “Maze” brought the experimentation to a blistering head.

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“Rock and Roll > Ghost” – 6.17 II, Charlotte, NC

One of the most enduring sequences of the opening leg featured two exploratory excursions in a row, and—by far—the “Ghost” of the summer.

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“Reba” – 6.17 II

Out of nowhere, the band dropped into this second-set “Reba.” Feeling the flow following the set-opening “Rock and Roll > Ghost,” the band slayed a jaw-dropping rendition that peaked for what seemed like ten minutes.

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“Split Open and Melt” – 6.18 I, Raleigh, NC

Phish got deep in this late-second setter, descending into a sinister sonic dungeon and saving a piece-meal set that had started to fizzle.

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“Slave to the Traffic Light” – 6.19 II, Portsmouth, VA

The resolution of a set-opening combo of “Crosseyed > Walls,” this version of “Slave” bled a purity and a majesty that I’m not sure was touched by any other outing this summer. On the closing night of June, Phish left us with an nugget of soulful magic for the break.

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“Sand” – 6.19 II

Though Phish crushed every single “Sand” of summer, this version brought leg one’s jazzier versions to a head. Standing out from the pack, this jam moves away from its traditional contours into some unadulterated funkscapes. The band is locked into some experimental and next-level grooves that just might put this version over the edge as the “Sand”of summer. Add some addictive stop/start jamming and a “Sand” reprise to the mix and we just might have a winner.

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“Light > Number Line” – 6.19 II

This compact versions of “Light” that came late in tour’s final show, reached some musical depth for one of few times in leg one. With this version, however, the band warmed up the gears of the traditionally intergalactic vehicle for a monstrous second half of summer. The band even displays some musical forethought before moving into “Number Line,” making the always-choppy transition far less so than usual.

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And then Phish came home to Vermont. The prodigal band of The Green Mountain State put its best foot forward on Wednesday night to help in a statewide relief effort in the wake Hurricane Irene. Or if looking at the show from a Phish-centric perspective, Summer 2011 was so phenomenal that it needed an encore. And in their home state, the band delivered a high-powered performance with portions of stellar improv in a fun-filled summer finale. Legions of fans descended upon Burlington for the quickly-planned benefit—a bonus round of Phish tacked on to a marathon touring season that has finally come to a close.

An unpatrolled and peaceful free-for-all at Champlain Valley Expo was highlighted by the opening sequence of the second set, “Carini > Down with Disease > Slave.” Only the second appearance since August, the set-opening “Carini” (dedicated to Pete Carini, himself) built into a summer highlight—a refreshing rendition after several innocuous outings (less Hollywood Bowl’s). Diving deep into the song’s menacing sound for some quality time, just when many recent versions have ended, this one took off. Following a tremendous hard rock peak, Trey took a step back and the band settled into melodic three-man canvas. On top of this uplifting plane, Trey began to narrate universal tales of splendor. Dripping soulful melodies over an increasingly abstract backdrop, Trey garnered the spotlight as the band came together in a gorgeous mélange of harmony and melody. Traveling a blissful path of convergence between the spiritual realms of music and consciousness, Phish brought this jam to the Promise Land before coyly steered the ending into the murky, bass-laden intro of “Down with Disease.”

The entrance into another guaranteed launch-pad had the show in an elevated state and the audience raging right along. Sailing into the high-energy jaunt, Phish took this “Disease” in an exploratory direction without ever losing speed. Trey exited the shredding composed jam using hard-edged rhythm chops to bridge a very dirty solo with all sorts of rhythmic features as well as lead qualities. Mike stood head to head with Trey, crushing bass line after bass line while the band locked in for the long haul. Gradually peeling away layers, the guys entered a more percussive realm anchored by break-beat action from Fishman and larger than life offerings from Gordeaux. Page tickled his organ while Trey comped the exercise with a series of rhythm chords that offered a new progression into the mix. Passing through a constantly morphing groove, the band, collectively, migrated into a more ambient plane that was getting particularly heavy when the band resolved the jam rather quickly and entered “Slave.” A unique version, this “Disease” packs a heavy punch while exploring new ground. Combining with “Carini,” this set-opening combo formed a particularly meaty sequence.

I always like it when the band places songs like “Slave” or “Hood” in the middle of the second set rather than as closers. It is in these slots that they get the full treatment. And last night’s mid-set “Slave” was another perfect example of this scenario. Taking all the time in the world to float amidst the jam’s ethereal opening, it took a bit before Fishman even slid into a subtle groove. A patient and intricate rendition brought the audience through a mid-set catharsis, as the band juiced each note for full emotion. Picking up a powerful solo late into the collaborative piece, Trey tactfully picked his spot and struck, initiating the “Slave’s” final build.

And as soon as the first segment set concluded, the band kicked out a mid-set “Rock and Roll.” Sticking to high-energy rock for the duration of the jam, the band seemed to be building into more substantial music when Trey came in with the out of place beginning of “Twist.” The band adjusted quickly and the move came off quasi-smoothly, but any potential of a deeper excursion was quickly erased. On the back end of this one-two punch came a version of “Twist” that didn’t veer from its theme, but still managed to get into impressive interplay. The band’s well-honed communication skills shone in this succinct version that wrapped up the second mini-segment of the set.

Up through this point, the band had the audience in the palm of their handsand the high-quality set deserved a more emphatic closing sequence than it received. Following a spirited, guitar-led “Number Line” that Trey peaked with a geyser of emotive licks, and a soaring “Theme From the Bottom” that paired odes to friendship, instead of choosing a larger set closer like “David Bowie” or “You Enjoy Myself” that would have really punctuated this set with a “complete” feel, Phish took the  “Suzy,” “Character Zero” route. And while each song’s individual performance was noteworthy in its own right, the combination fell a bit flat. A “Loving Cup” encore, though common this year, was a fitting end to a summer filled with so many beautiful buzzes.

And thus the night of bonus Phish— a pair of musical extra innings—came to a close. In a summer of thrills, the band scripted one more night for the benefit of its birthplace. Returning to the Vermont for the first time since Coventry’s 2004 debacle, the vibe could not have been more polar opposite at Essex Junction last night. And when Phish took their final bow in the cool New England air, concluding the special evening, joy was the pervading feeling—a far cry from the bittersweet farewell in Vermont seven years ago. Summer 2011 had finally ended. From Bethel to Denver and then to Vermont, Phish blazed a trail of fire throughout the country from late-May to mid-September, and did so in style as the undisputed pimps of the galaxy.

First Set Thoughts:

Vermont’s first set carried a very song-heavy feeling right from the start, and most of the songs were common first-set fare. “Moma Dance” featured the energetic funk that has fueled a summer revival of the recently-stale piece. Impressive versions of “Bathtub Gin” and “Wolfman’s Brother” bookended an “Alaska,” “Possum” sandwich before “Julius” closed the set. And coming from someone who has no love for “Julius” whatsoever, this version actually had something to it. Featuring more creative full-band interplay than normal, the set ended with a highlight version of the song. But the gem of the set lied in “Wolfman’s.” Taking the piece into growling, uncompressed realms, Trey directed the funk in a dirty direction right out of the gates. Page added his own layer of dissonance and Fish and Mike churned out a gooey pocket. Concluding a summer that has seen “Wolfman’s” transcend its straightforward funk of the last two years, the band infused the grooves of this version with aggressive textures. While never totally departing from the theme, the band crafted a heavy-handed highlight late in the opening set.

I: Chalk Dust Torture, The Moma Dance, NICU, Funky Bitch, Sample in a Jar, Cavern, Bathtub Gin, Alaska, Possum, Wolfman’s Brother, Julius

II: Carini > Down with Disease > Slave to the Traffic Light, Rock and Roll > Twist, Backwards Down the Number Line, Theme From the Bottom > Suzy Greenberg, Character Zero

E: Loving Cup