Jam Chart for the state of MD (70 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 1995-11-22 | Landover, MD | 11:11 | Jam wastes no time dicking around but gets right into intensive and dissonant playing. Great Page and Fish. | |
| 1995-11-22 | Landover, MD | 33:02 | The second extended, highly improvisational "Free." This one is a monster with several movements well beyond "Free" proper and "No Quarter" teases and a "BATR" tease. -> to "Llama." Must-hear. | |
| 1997-12-28 | Landover, MD | 10:57 | Nice mellow groovy jam that has some decent stylistic variation. | |
| 1997-12-28 | Landover, MD | 8:21 | Mike and Page add a lot to the richly funky jam that becomes very repetitious, with Trey playing in a staccato manner. | |
| 1997-12-28 | Landover, MD | 14:11 | The jam breaks into a nice funky groove around 8:00 and gradually winds down into space with delay effects. | |
| 1997-12-28 | Landover, MD | 9:39 | A low-key and at times melodic and serene outro jam emerges from the standard before > to a solid "Simple." | |
| 1997-12-28 | Landover, MD | 13:27 | Jam begins in traditional fashion but eventually there's a somewhat inexplicable key modulation from Trey. A very unusual version that also includes Page on clavinet for a stretch. | |
| 1997-12-28 | Landover, MD | 11:42 | Guitar and piano jam with "Roundabout" teases instead of traditional Mule Duel. Eventually the whole band joins in quiet but suspenseful jam that is quality music. | |
| 1997-12-28 | Landover, MD | 12:49 | A crisp, tight, high energy jam - the band is really locked in on this one. Shorter than some, but well worth the visit! | |
| 1998-08-08 | Columbia, MD | 11:15 | A really great funky, but low key, jam emerges on the back end of "Sally." -> to "Guyute." | |
| 1998-08-08 | Columbia, MD | 11:54 | Trey in his full 1998 guitar mastery glory. A nice visit to Nastytown in the second jam as Mike is liquid beast. | |
| 1998-08-08 | Columbia, MD | 15:43 | Not your typically pumped up "Piper," this awesome jam, driven by Mike and Page, is spacious but has real legs. "Sparks"-like tease at about 14:30. A fan favorite. | |
| 1998-08-08 | Columbia, MD | 12:36 | Very strong Page/Trey interplay, some good variation by Trey, and uniquely '98 sound combine for a quality '98 "Hood." | |
| 1999-07-09 | Columbia, MD | 17:28 | Awesome, improvisational version which proves that "Mike's" doesn't have to have 2 jams to kick ass. Immediately breaking into a lilting, un-"Mike's"-like groove, the jam settles down, gets punchy, settles again, all with a sense that tension is loading. The release begins at 13:30, and by 14:30, a melodic hose-storm is unleashed, repleat with "Sweet Emotion" vocal quotes and jamming. | |
| 2000-09-17 | Columbia, MD | 15:23 | Compared to the well-known bustout version from Deer Creek in 2000, this version features much better execution in The Curtain and a more competent delivery in the With jam. Trey's use of the Leslie during the early, "Rift" part of With is a cool plus, and the band coalesces nicely from there, for a snappy and spirited instrumental jam. | |
| 2000-09-17 | Columbia, MD | 11:10 | > in from "R&R." At about 8:45, shifts away from "Theme" proper into Mike led, low key, pulsing groove. Some nice, subtle Page and Trey fills in this jam. All of a sudden, Fish and Mike shift gears with a great -> to "Dog Log." | |
| 2000-09-17 | Columbia, MD | 18:19 | > in from a great "Theme From The Bottom" -> "Dog Log" pairing. Following an extended, straightforward outro, this improvisational version morphs into a rhythmic and pulsing groove that grows increasingly effects laden and eerie, before transitioning to "Free." | |
| 2009-08-15 | Columbia, MD | 16:23 | Jam breaks away from "46 Days" into a spacey, quiet mode, then Trey and Fish pick things up into a really great, pulsing and upbeat vibe. Another improvisationally rich version. | |
| 2010-06-26 | Columbia, MD | 17:35 | A delicate, slightly spacey jam emerges from the standard and gradually builds in power and intensity. Then Mike and Trey shift direction, leading a nice "Moby Dick" jam at the end which mellows and > to "Free." | |
| 2010-06-27 | Columbia, MD | 10:00 | Extended outro and a -> to "Saw it Again." | |
| 2011-06-12 | Columbia, MD | 8:02 | Patient segue out of "Wolfman's Brother." Mike drops one of his ground-shaking bombs at 4:10. Great playing from Trey and Page in the outro jam before the > into "Gumbo." | |
| 2011-06-12 | Columbia, MD | 10:11 | Very soulful Trey solo, and an extended ending. | |
| 2013-07-13 | Columbia, MD | 10:58 | Jam includes a nice modulation to major mode, and the boys bring it home well for a safe landing after the plane wreck at SPAC. Alas, Trey over-deploys the pitch shifter; otherwise a solid "SOAM." | |
| 2013-07-13 | Columbia, MD | 12:30 | This "Hood" is a very good one, with a strong building jam, great peak and good interplay by the band. | |
| 2013-07-13 | Columbia, MD | 8:38 | Much more of a rocking outro jam than the standard with solid Trey who develops a great riff. | |
| 2013-07-14 | Columbia, MD | 13:42 | Great, multi-section "Stash." Jam breaks to major mode (6:36) and returns. Then it grows funky and percussive (8:52), shifts again to major mode while staying funky (10:12), and then makes it way back to familiar territory. | |
| 2013-07-14 | Columbia, MD | 11:01 | Page solo > very nice Trey/Mike duet > then Fish busts out a new toy, the Marimba Lumina > klezmer > falsetto singing by Mike > conclusion. | |
| 2013-07-14 | Columbia, MD | 7:43 | Nice "old school" little rocking jam with Page on the B-3. It's been 10 years, really more like 17, or going back to 1996, since the band last played one of these rocking little jams, which add great flavor to an otherwise fully composed piece. | |
| 2013-07-14 | Columbia, MD | 12:16 | An amazing show of improvisation. Trey stays away from the whammy predominantly and the band engages in a stop/start jam that harkens back to the hey-hole-jams of the early 90's. Infectiously fun, and truly unlike any other version to date. | |
| 2013-07-14 | Columbia, MD | 21:18 | Although the jam is strong, there is no real peak...but at least Trey plays his guitar instead of his pitch shifter! | |
| 2014-07-26 | Columbia, MD | 9:05 | Another strong version, but this one is all about Trey, who deftly winds the melody and chords beautifully at the peak. | |
| 2014-07-26 | Columbia, MD | 13:20 | Similar to the version from 10/22/10, this "Carini" shifts and changes form again and again and again. Just when they seem to settle on a groove, it's morphed anew. | |
| 2014-07-26 | Columbia, MD | 10:48 | "Ain't Nothing But a Good Time!" [A strong and atypical jam is loaded with positive vibes and rocking, feel-good sentiments, before growing mildly dissonant and transitioning to "Steam."] | |
| 2014-07-26 | Columbia, MD | 13:20 | While not as exploratory as some from Summer '14, this "Hood" is by no means a typical. The jam includes great Trey licks, rocking chording, strong Mike and Page, and a solid peak. | |
| 2014-07-27 | Columbia, MD | 8:56 | Acting as the improvisational meat of a "Tweezer-fest", the jamming here takes on an uplifting, "TFTB"-esque vibe and then gets wonky and atonal before sliding into "Waiting All Night". | |
| 2014-07-27 | Columbia, MD | 2:30 | A funky outro emerges from "NICU" and morphs into "HYHU" in the midst of a historic set. | |
| 2015-08-15 | Columbia, MD | 8:57 | Phish has certainly got "Roggae" dialed in at this point in time. This version is heartfelt, soulful, and beautifully played. Trey uses no effects, resulting in a natural sounding jam, and he picks his notes with impressive exactitude, resulting in a super tight, cleanly played version. | |
| 2015-08-15 | Columbia, MD | 16:25 | An angry, dissonant and pulsing jam emerges at first, settles a bit, then grows melodic and soothing with nice Fender-Rhodes action from Page. Familiar bliss type jamming then briefly takes hold until a -> to "Bug." | |
| 2015-08-15 | Columbia, MD | 5:32 | Meaty little groove develops after the fourth verse, grows in power with Fish adding some eerie wails, then dies away and > very nicely into "What's The Use?" | |
| 2015-08-15 | Columbia, MD | 5:11 | "What's the Use?" is sandwiched inside a solid version of "Steam." | |
| 2015-08-15 | Columbia, MD | 1:03 | > out of "What's The Use?" Proper finish to the tune and a slow -> into "Piper." | |
| 2015-08-15 | Columbia, MD | 15:48 | -> in from "Steam." Solid and varied "Type I" playing through 8:40, when the jam quiets and takes on a groovy but dark and probing sense. The energy builds to a spirited, rocking peak, then neatly -> to "Tweezer." | |
| 2015-08-16 | Columbia, MD | 10:43 | "Stash" is an old fashioned tension/dissonance -> release type song. Trey's frequent use of the off beat to begin his melodic runs keeps it interesting, nicely building tension up to the final release. | |
| 2015-08-16 | Columbia, MD | 12:46 | Sure there's a nice major mode shift, but to only mention that is to sell this solid Bowie short. There are several brief pauses, a Zappa-like technique which throws off the rhythm momentarily and keeps it interesting. Also a nice intro and good tension building. Minor flubs here and there are forgiven. | |
| 2018-08-11 | Columbia, MD | 9:46 | Surprise jam from a strong stand, "Party Time" offers what has been so cool with regard to 2018, and, generally, of late: A little "jamlet." Emerging from what might ordinarily bring the song to a close, extended, if not quite protracted jamming, is filled with "YST" teasing and inspired Trey soloing atop Fish's pounding beat. Trey steps upon a pedal to flip a switch, and a strong solo ensues. | |
| 2018-08-11 | Columbia, MD | 10:59 | While not flawless, certainly one of the era's finest. Mike's salsa-riffing (around 7:00) seems to inspire Trey, whose minor-key jamming creates a "Spanish Jam" vibe, while, interestingly, evoking 4/26/96's "David Bowie" - particularly the version's "Caravan" jamming (around 9:20) - both of which assume similar melodic lines. | |
| 2018-08-12 | Columbia, MD | 6:57 | Fun, inspired version. Trey runs through a few solos - each featuring a distinct tone - before the band builds a nifty little pocket of spooky sound (awesome Mike, matched by Trey) which builds to break down. | |
| 2018-08-12 | Columbia, MD | 11:21 | This groovy first-set pairing with "Tweezer" doesn't stray too far away from the usual upbeat "Gin" jam, but features some wonderful rhythmic games from Fish and builds to a pretty sweet peak. | |
| 2018-08-12 | Columbia, MD | 9:44 | A forceful version that quickly enters an extended segment of semi-dissonant play, sounding more like something from '93-'94 than the modern era, and then returns to "CDT" with the band wringing every last drop of tension out of the jam. | |
| 2018-08-12 | Columbia, MD | 13:27 | Propulsive, "percussive" play propels the jam early, before Trey shapes his tone to solo more directly. Trey then lays back and Page controls the narrative, with super Mike and Fish coloring a groove which lets the children boogie. Trey takes a second solo, his feel-good play dissolving into some of Page's synthetic "space". > "Twist". | |
| 2018-08-12 | Columbia, MD | 12:21 | The type I portion of the jam is enhanced by watery Leslie vibrations, which paves the way in short order for a brief bliss passage. This in turn pushes for a slightly darker, minor-key effects-laden jam that seamlessly -> back to a "Tweezer Reprise" jam. | |
| 2019-06-22 | Columbia, MD | 8:38 | A smooth modulation to major around 4:30 paves the way for the band to ride a wave of feel-good vibes to a clean peak with Trey's ringing leads out front. | |
| 2019-06-22 | Columbia, MD | 10:51 | Features an unusual shift to upbeat major play at 5:45 and ventures further afield with some "Wider"-esque reggae grooving before returning home. | |
| 2019-06-22 | Columbia, MD | 10:12 | Playful and plucky first-set play hearkens back to the "day," with Trey seamlessly blending "Blister In The Sun" into a fiery version which probably doesn't, but may, hint at "China Cat Sunflower" before the song's closing vocal refrain. > "The Horse." | |
| 2019-06-22 | Columbia, MD | 8:03 | While the jam section begins typically, Trey's confidence seems to grow as he proceeds, with fancy finger work and cohesive play leading to a rousing conclusion. | |
| 2019-06-23 | Columbia, MD | 8:29 | > from "It's Ice." Mike has strong play from the start and Trey's play is airy and bouncy, as usual. Page mirrors Trey in a complementary fashion and Fish's delicate, driving drums keep the jam going. Strong play from the entire band in this version. | |
| 2019-06-23 | Columbia, MD | 14:40 | Pivots to a light and airy major key jam, upon which Trey steps into the spotlight and delivers some powerful and emotive soloing. Comes to a powerful close and > into an equally good "Everything's Right". | |
| 2019-06-23 | Columbia, MD | 12:25 | First improvisational version wastes no time delving into a dark swampy zone with Page's synths leading the way, Mike going to the envelope filter to add some extra filthiness. Fish picks up the pace and Trey moves to a nice low-key groove with some "Weekapaug"-y tones, with some "Crosseyed" quotes for funsies. The band gooses some woos, then finds a nice -> into "Twist". | |
| 2022-07-30 | Columbia, MD | 16:14 | > from "Buried Alive", the band treats us to yet another fantastic first set jam. The perfect soundtrack to the sun setting on a summer evening. After a mellow beginning, the tempo kicks into a higher gear as the band locks in together. Heavy effects from Trey slow things down again, which leads to some inspired play from Mike as things wind down. > "Llama". | |
| 2022-07-30 | Columbia, MD | 6:43 | Check out the studio version. Like "Fuego," this is one of Phish's finest recorded tracks. For a classy live "Fuego," revisit CMAC 14, which, on the heels of a Letterman appearance, features the song's studio outro. Here, wonderfully, the band moves in a different direction, opening up to dazzle and delight, a "shafty" Trey running point with Page by his side, the duo teasing a pretty medley that, in time, seamlessly shifts to become a signature "Strawberry Letter 23." | |
| 2022-07-30 | Columbia, MD | 3:07 | As "Shafty" so often does, this version introduces itself with a ->, in this case from the first ever Type II "Halfway to the Moon", and adds to that jam's funky bent. | |
| 2022-07-30 | Columbia, MD | 7:11 | Following "Halfway to the Moon's" jam breakout, "Strawberry Letter 23" takes the baton with its first real jaunt in an expectedly funky affair until closing quietly with a -> to a rare (first since '91) set-closing "Lizards". | |
| 2022-07-30 | Columbia, MD | 18:53 | Furious play, early, and, if the band enjoys changing shapes, this is a posture this tune will do well to assume. To wit, when play predictably cools, Trey (and Fish) rather ratchet up the intensity, the friends offering a version befitting "viking warriors" and "animal heads." Absent early 90s tension and release, here is a new force, just a remarkable version and testament to Phish's ever-evolving vision. Listen to the aud for some of the very best of Phish: Us, responding. Tremendous version. | |
| 2022-07-30 | Columbia, MD | 7:44 | Outro brews up a delectable synth-funk stew that you wish would never end, that is until Trey swoops in with a quick -> to "Simple". | |
| 2022-07-31 | Columbia, MD | 13:43 | From out of the pre-show chaos, a show-opening jam appears. The jam begins in a pulsing rock-out space, with confident Trey out front leading the way. In lieu of multiple sectional shifts, this jam retains its rhythmic pulse throughout. Fishman once again guides the band masterfully through rhythmic ebb and flow to maintain momentum. The music builds to a solid peak with some flashy Trey playing, then returns to the song's chorus to close it out. | |
| 2022-07-31 | Columbia, MD | 10:15 | Like the old days (see 12/95's Mike's > Paugs), Trey seems intent to better, or build off from, a prior performance. Like 7/20/22, "Bag," after years of perfunctory play, is stretched out. Trey, way impressive, is way out front, with Page making vintage Phish something totally synthed-out and utterly two-thousand and twenty-two. Trey's return to the riff? Legit. Great jam. | |
| 2022-07-31 | Columbia, MD | 12:26 | Building on the Deer Creek version from earlier in '22, Mull sails towards uncharted waters here at MPP. The jam starts in sludgy funk mode, with Trey and Mike's effects thick as molasses and Fishman setting the tone with a "Destiny Unbound"-esque beat. The band keys in on the groove immediately, while the music deepens at an exceedingly rapid pace. Page's synths pool around Trey and Mikeâs bevy of effects as the jam builds into a clinic of dark/textural soundscapes. Fishman contextualizes the madness rhythmically with the expertise of a deep sea fisherman, and then leads the band > "Foam." Highly inspired improvisation. | |
| 2022-07-31 | Columbia, MD | 14:25 | After an upbeat lead-in, the jam turns dark and menacing at 8:45, at first simmering, and then sizzling with intensity as it reaches its apex when it's fully unleashed after 12:00. | |
| 2022-07-31 | Columbia, MD | 18:53 | Straightforward jam until 9:15, when the key modulates and an "All Along The Watchtower"-esque progression takes shape (an ajamakinto "Watchtower," but no musical quote of its melody so no tease). They jam on this "Watchtower" progression for many measures, going "type II" to an extent in the process though Fish returns briefly within it here and there to "Tweezer's" drum line. Then there's another key modulation and Trey begins soloing melodically o'ertop beautiful accompaniment from Page, Mike and Fish. This improv eventually gels around an enchanting theme before the key modulates yet again and a steady, dark, heavy "type II" jam ensues. Fish soon brings back "Tweezer's" drum line, and Trey Mike and Fish briefly to "Tweezer's" melodic line and comping, as this jam fizzles out and "Wingsuit" begins after sustain. | |
| 2022-07-31 | Columbia, MD | 8:58 | Drops in neatly > from "Tweezer" and produces a cool hybrid jam that rhythmically stays in "BOAF" territory but melodically departs for stretches before charging back for a proper finish. |
Jam chart versions are selected because of improvisational and other characteristics that distinguish these from typical versions of the song.
The jam chart team has highlighted some versions with a yellow background; these are the versions the team believes to be especially improvisational, or otherwise notable.
A purple date indicates that you were in attendance.
The jam chart team has highlighted some versions with a yellow background; these are the versions the team believes to be especially improvisational, or otherwise notable.
A purple date indicates that you were in attendance.
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