MR. MINER'S PHISH THOUGHTS

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

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

Mp3 Torrent, Megaupload < Links

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

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 …

The Spark of Trey’s Solo Career Read More »

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

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 …

Trey Tour 2011 Read More »

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)

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 Ocedoc” – Trey’s Magic Guitar Read More »

8.7.08 – Williamsburg (unk.)

This summer, several of Trey’s solo songs jumped over to his bigger band. Included in these transplants were, “Light,” “Let Me Lie,” “Backwards Down the Number Line,” “Alaska,” and Time Turns Elastic.” But one of the songs that seemed like a shoo-in for Phish has yet to emerge. The engaging multi-part composition, “Greyhound Rising”- played only twice on his own- has gone missing.

After Trey’s comeback show in Brooklyn last August, three songs struck me as clearly destined for Phish- “Backwards Down the Number Line,” “Light,” and “Greyhound Rising.” Two are firmly ingrained in the band’s current catalog, while one hasn’t seen the light of day. Seemingly destined for their new album, the song has yet to surface in any form. Trey only unshelved it once again- in Philadelphia- another sure sign that Phish would usurp the destiny of the future epic.  But they haven’t, and I wonder if they will.

Classic TAB Tour ’08 (unk.)

The song whispers out of the gate with lyrical poetry complemented by somber guitar and piano melodies.  The piece at first seems wistful, longing for something or someone lost, and Trey conveys this emotion in a beautifully phrased solo that stands out in the opening section. Moving into a more Phishy texture, the melodic verse that comes in over the oceanic music is much more upbeat and sounds like it could have been pulled right from a Phish song. The groove takes the song into a bluesier jam where Red unleashes a gnarling solo. When hearing the layered composition the two times with his Classic TAB band, my imgination ran wild thinking of how much Phish could enhance the song, taking it from its raw form into one of those bigger pieces that are at least 10 to 15 minutes every time out. With plenty of composition and ample room for improv, it seems like the perfect song for Phish 3.0. Why else would it have been written after all?

The blues jam turns into a heavier build- this is where the jam would be- and finally uses collective hits to splash into the ending, a slowed down, dramatic reprise of the introduction; a Phish song no doubt. And to end it, a cathartic solo over a delicate beat. It would be awesome, and Trey knows it. It will come at some point; who knows when- but at somepoint. It’s one of his most interesting new pieces.  Heck, since “Alaska” made it to Phish, “Greyhound Rising” is destined to crossover to balance things out.  One can hope.

Greyhound Rising” 10.24.08 – The Electric Factory, Philadelphia, PA

Winged music note

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Jam of the Day:

Twist > Caspian” 1.1.00 Cypress

Sticking with the Big Cypress vibe of yesterday, here is a gorgeous segment from early in the set that often goes overlooked with all the music of the night. With an enchanting ambient groove, this “Twist” carried an introspective feel as we stepped out of the 1900’s forever.

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DOWNLOAD OF THE DAY:

5.6.1992 St. Andrews Hall, Detroit, MI < Torrent

5.6.1992 St. Andrews Hall, Detroit, MI < Megaupload

Spring 1992 – The Warfield

With Fall Tour rumored to start at Cobo Hall in downtown Detroit, this nugget from Spring ’92 recounts a former visit to The Motor City, proper.  Coming at you via reader request, this show was one of the last in the Midwest before heading east to conclude their tour. Featuring the bust-out of “Shaggy Dog” for the first time since 1988 (451 shows), this show boasts a quintessential old-school setlist.  This fileset feature an entire AUD recording and a Set I SBD , taboot.  Detroit- here we come.

I: Llama, Foam, Reba, My Mind’s Got a Mind of its Own, Maze, Tela, Brother, Colonel Forbin’s Ascent > Famous Mockingbird, Sparkle, Cavern

II: My Sweet One, Stash, The Squirming Coil, You Enjoy Myself > Shaggy Dog, All Things Reconsidered, Bouncing Around the Room, Uncle Pen, Chalk Dust Torture, HYHU > Terrapin > HYHU, Take the A-Train, Golgi Apparatus

E: Carolina, Good Times Bad Times

Source: DAUD/FOB (~30 ft. from stage, DFC) Neumann RSM191A-S > Neumann MTX191S > Panasonic SV-255@48k Master (on SV-255 listed above) & SET 1 SBD

This summer, several of Trey’s solo songs jumped over to his bigger band. Included in these transplants were, “Light,” “Let Me Lie,” “Backwards Down the Number Line,” “Alaska,” and Time Turns Elastic.” But one of the songs that seemed like a shoo-in for Phish has yet to emerge. The engaging multi-part composition, “Greyhound Rising”- played …

Will the Greyhound Rise? Read More »

9.12.09 – Carnegie Hall (C.Batka)

It all began back in college.  With intricate, multi-part compositions- arguably better suited for an orchestra than a rock band- Trey began his songwriting days.  Scribing pieces so far-reaching in musical scope, it was mind-numbing how a four-piece outfit could conquer his songs with such proficiency.  And throughout the years, when the band really nailed them, they sounded like- well- a symphony.  “You Enjoy Myself,” “Fluffhead,” “Divided Sky,” The Curtain (With),” “David Bowie,” “Harry Hood,” “Reba”- these weren’t your everyday “rock” songs.  But with Phish as his musical outlet, that’s what they became, some of the most unique rock songs in history, or- in other words- Phish songs.  But there was a vision of something greater that drove these compositions, something unattainable at the time.

TreyYouth

Decades later in 2000, during Phish’s first break, Trey turned his energy to his lifelong goal.  Taking a similarly scribed song, “Guyute,” he spent four months with the conductor of the Vermont Youth Orchestra creating an orchestral arrangement of his composition.  And with two benefit performances at the Music Hall in Troy, NY and Burlington’s Flynn Theatre- a show that included his mentor, Ernie Stires- Trey’s new career was underway.  During the hiatus, he also worked with the Nashville Chamber Orchestra- conducting them, at Bonnaroo 2004, through pieces from his first classical album,”Seis De Mayo.”

Nashville Program

And on Saturday night at Carnegie Hall, after years of diligence and many baby-steps along the way, Trey’s dream was finally fulfilled.  Playing a full two-set show of his own material with the world-class New York Philharmonic Orchestra, Trey took center stage in one of the music’s most legendary venues, realizing his vision hatched so long ago.  Decked in black, he was the man of the hour, not only showcasing “Time Turns Elastic” in its proper setting, but also highlighting the night with a ridiculously creative arrangement of “You Enjoy Myself.”  On a stage filled with some of the world’s best musicians, Trey’s seminal piece took on a completely new life.  It was the first time that we all got to hear what Trey has been hearing in his head for years.  And it is some of the most surreal music you will ever hear.

9.12.09 – Carnegie Hall (P.Mason)

While I couldn’t be at the show last night- all reports and reviews I got from New York City were glowing, and after listening to the show, I certainly understand why.  To hear Phish music in this milieu is absolutely breathtaking; the complexities and emotions are magnified, and the music sounds surprisingly at home.  Blending his guitar with a far greater whole, Trey’s integration with the symphonic tapestry is brilliant.  Arranging all pieces with Nashville’s Don Hart, with whom he collaborated with on “Time Turn Elastic,” the nuances and intricacies of each piece were astounding; Trey’s playing, selfless- his tone, gorgeous.  Making the first complete performance of the next chapter of his career, Trey announced his arrival on one of world’s most prestigious stages.

The way he painted suggestions of his soaring “First Tube” solo against a lush, horn-led backdrop; the enchanting and dreamy, “Brian & Robert;” the soaring power of the strings in “Divided Sky”- was this all a joke?  Trey had gone right ahead and redefined the Phish experience overnight.  And in his recent interview in Timeout: New York, he indicated he would love to see this project grow to where he could tour between Phish activities, playing two nights in a city without repeating any material.  Pretty freakin’ cool if you ask me!  And quite the “side project.”

9.12.09 (LiveMusicBlog)

After playing a series of relatively shorter pieces in the first set, the second set featured but three songs- “Time Turns Elastic,” “Let Me Lie,” and “YEM.”  In its full three-movement incarnation, and set in Carnegie Hall, it was very clear where “Time Turns Elastic” belongs.  In full blossom in Trey’s virtuoso performance, the song was easier to digest after a summer of hearing it as a Phish song,  but after listening to Saturday’s performance, it seems almost silly that it was transposed into a contrived prog-rock “epic.”  Taking on its natural form, as debuted in Nashville and performed in Baltimore, the piece’s innovation and power was evident, and it sounded authentic in its orchestral form.  But the highlight of the night was, without question, the classical debut of “You Enjoy Myself.”

With one of the most renowned symphonies on the planet, Trey played through a rendition of his seminal work that has to be heard to be believed.  The creativity, fun, and sheer genius on display was completely over the top, as the once-imaginary version of the song burst into reality.  Complete with an interpretation of his band’s improv, this “YEM” quickly developed into a career-defining moment for Trey.  With their collaborative ingenuity teeming, he even complemented the orchestra as the piece came to rest in a mesmerizing “vocal jam.”  And as he did, one can’t help but think that college kid from the mid-eighties, somewhere inside the mature maestro onstage, was beaming with a goofy, radiant smile.

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Winged music note

Jams of the Day: Carnegie Hall

You Enjoy Myself

Simply amazing. I am re-posting it for the Monday morning crowd.

Time Turns Elastic

In this setting, this composition is stunning.

First Tube

An unexpected way to start a night at the symphony!

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DOWNLOAD OF THE DAY:

9.14.1990 The Living Room, Providence, RI < Torrent

9.14.1990 The Living Room, Providence, RI < Megaupload

Feb 1990 Poster

We are taking it back nineteen years to the day, to a small club in Providence, RI for today’s download.  Those from the Northeast are most likely familiar with the intimate Living Room, a club that is still active today.  An old-school nugget to start the week that features the debut of “Destiny Unbound.”  Enjoy!

I: Suzy Greenberg, Bouncing Around the Room, The Landlady, Reba, Paul and Silas, Stash, Dinner and a Movie, I Didn’t Know

II: The Asse Festival, The Squirming Coil, Buried Alive > Tweezer, Magilla, Cavern, Lizards, Destiny Unbound*, Fire

E: Going Down Slow

*first time played

It all began back in college.  With intricate, multi-part compositions- arguably better suited for an orchestra than a rock band- Trey began his songwriting days.  Scribing pieces so far-reaching in musical scope, it was mind-numbing how a four-piece outfit could conquer his songs with such proficiency.  And throughout the years, when the band really nailed …

A Night At the Symphony Read More »

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