Jam Chart for the state of FL (133 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 1993-02-22 | Tallahassee, FL | 12:13 | Yet another rock solid "Bowie" from February 1993. Great melodic variation by Trey. | |
| 1993-02-23 | Orlando, FL | 9:47 | Unusual, exploratory ending section (beginning at 8:00) with rhythmic variation and a different vibe. -> to "Lizards." | |
| 1993-02-23 | Orlando, FL | 2:01 | Another strong Spring '93 version that bookends the debut of "Nellie Kane" -- the second half is particularly hot, and -> "HYHU." | |
| 1993-02-23 | Orlando, FL | 2:40 | -> in from "Weekapaug." The debut of this Hot Rize bluegrass classic is sandwiched in a typically strong '93 "Weekapaug." -> back to "Weekapaug." | |
| 1993-02-23 | Orlando, FL | 2:10 | -> in from the debut of "Nellie Kane" to conclude a strong '93 "Weekapaug." | |
| 1993-02-26 | Tampa, FL | 9:01 | Machine Gun Trey takes out the audience in this largely straightforward, but blistering hot version. Fish rocks too. | |
| 1993-02-27 | Gainesville, FL | 10:55 | Insane intensity and tension. This one is smoking hot and Fish goes ballistic. | |
| 1993-02-27 | Gainesville, FL | 11:31 | Breaks away from the standard jam at 8:20 into a quiet but tension filled section. Returns home to wrap up. | |
| 1993-02-27 | Gainesville, FL | 7:34 | After four minutes of standard but white hot "Weekapaug" jamming, Page and Trey drop into a sparser section with "Alumni Blues"-like riffing, before bringing back the main "Groove" and finishing on a high note. | |
| 1993-08-02 | Tampa, FL | 11:02 | After very few performances from Summer '92 - July '93, this "Gin" blows open the doors to serious improvisation, including tempo shifts, a "Sleeping Monkey"-like jam, then some great free-form jamming. -> to "Makisupa." | |
| 1993-08-02 | Tampa, FL | 8:34 | Straightforward version until just before the customary closing chords would end the song and "Hydrogen" might begin, in that where "Simple" eventually would start-up, the band launches into what old tapes called a "Heavy Metal Jam," which features Joe Rooney screaming on vocals (and then that jam segues into "Sparks"). | |
| 1993-08-02 | Tampa, FL | 7:30 | Sick jam with dissonance, rhythmic gyrations and soaring tension, then > to a reprise of "Makisupa" in the "Rocco" section. | |
| 1993-08-02 | Tampa, FL | 0:26 | > from "Antelope" for a quick "Makisupa" reprise before > back to close "Antelope". | |
| 1993-08-02 | Tampa, FL | 3:02 | > from "Makisupa" into the "Rye Rye Rocco" with an All Fall Down signal to wrap up a very strong "Antelope". | |
| 1993-08-03 | Miami, FL | 10:37 | Being that it's August '93, you can expect some quality improvisation. This one has some twisted meanderings and a deranged little section near the end. | |
| 1993-08-03 | Miami, FL | 20:49 | Awesome B&D! | |
| 1994-04-29 | Clearwater, FL | 18:12 | Crazy, very strange version. (No B&D or VJ.) Nice segue into "FEFY." | |
| 1994-04-29 | Clearwater, FL | 6:30 | Though not perfect, Trey gets paid by the note in this one, including during its mighty peak and conclusion. | |
| 1994-04-29 | Clearwater, FL | 10:24 | Excellent variation in the playing, including a nice quiet section, dissonance, pounding, and an amusing section with the band members all yelling "Yee Haw!!" No real ending but instead a > to "Sanity." | |
| 1994-04-29 | Clearwater, FL | 5:45 | All band members play a flurry of notes several times before the > to "Uncle Pen." | |
| 1994-04-29 | Clearwater, FL | 10:20 | A typically fiery, intense '94 1st jam breaks into great rhythmic, medium intensity playing, which mellows into some super melodic Trey-led jamming with hints of "MLB." Collapsing to drums, the jamming returns to "Mike's" proper to conclude. | |
| 1994-04-30 | Orlando, FL | 11:00 | Every version of "Stash" from April '94 is on this chart and with good reason. This one mutates and thrashes nicely. | |
| 1994-04-30 | Orlando, FL | 18:35 | > in from "Wilson." Cool little jam on "The Lion Sleeps Tonight" in intro. Some "DDJ"-like musing, an unusually quiet but probing early section, and then a gnarly, dissonant build, all making this final April '94 performance another strong one. | |
| 1994-04-30 | Orlando, FL | 12:00 | Jam opens with a great "The Lion Sleeps Tonight" tease followed by light, fluttery playing before a knockout punch ending. | |
| 1994-04-30 | Orlando, FL | 9:05 | A lilting, musical intro features melodic Trey and "The Lion Sleeps Tonight" teasing, a fun theme throughout this show. A loose, easy vibe dominates the composed section. Page's fast clip solo, which sparkles, is anchored by great Mike and colored by thoughtful and deliberate work from Trey. A fiery conclusion > to an excellent "Possum." | |
| 1994-04-30 | Orlando, FL | 11:21 | Several teases in the jam (see Setlist), but they fit in really well, as if part of the jam, not funny little add ons. Then the jam takes off in typically blistering '94 style. Fish rocks this one hard, and the others are no slouches either. | |
| 1994-10-20 | St. Petersburg, FL | 8:00 | "SOAM" -> "Kung" -> "SOAM." The jam itself is decent, dissonant, and moderately exploratory. | |
| 1994-10-20 | St. Petersburg, FL | 2:00 | -> in from "SOAM," -> back to "SOAM." | |
| 1994-10-20 | St. Petersburg, FL | 2:33 | -> in from "Kung" to complete this "SOAM" sandwich. | |
| 1994-10-20 | St. Petersburg, FL | 12:27 | -> in from "Lengthwise." Page shines for an extended section starting at 3:15 through 5:00, where the jam goes from near silence to a more predictable jam. Fish's driving play keeps things at a breakneck speed. The jam ends with soaring licks from Trey. | |
| 1994-10-20 | St. Petersburg, FL | 19:48 | The first seriously "Type II" "Hood" includes some very experimental jamming. Parts of this exploration are mildly dissonant and very un-"Hood"-like, while other sections are quite spectacular. The "Type I" ending is first rate. | |
| 1994-10-21 | Sunrise, FL | 13:04 | Chaotic and crazed version with a number of short but discrete exploratory departures. | |
| 1994-10-21 | Sunrise, FL | 7:16 | High-quality "Type I" action followed by a "CYHMK" jam to close. | |
| 1994-10-22 | Orlando, FL | 11:24 | Very good, multi-section jam, including some percussive rocking, un-"SOAM"-like jamming, and great Page. | |
| 1994-10-22 | Orlando, FL | 13:21 | Another strong fall '94 version, arguably the peak period in "Bowie's" storied performance history. | |
| 1994-10-22 | Orlando, FL | 11:03 | Though short, this is an excellent, powerful version that ends in an unusually fierce way. | |
| 1994-10-23 | Gainesville, FL | 11:20 | Standard (strong) Page. But the tension and dissonance elevate through the ceiling during Trey's section. Sick Fish. | |
| 1994-10-23 | Gainesville, FL | 2:11 | "YEM" -> to "Vibration Of Life" in the opening, then -> back to "YEM." "Another One Bites The Dust" jam; "Mission: Impossible" tease from Trey. | |
| 1994-10-23 | Gainesville, FL | 1:20 | -> in from the opening segment of "YEM." "VOL" performed in the quiet portion of the "YEM" opening. -> back to "YEM." | |
| 1994-10-23 | Gainesville, FL | 19:20 | -> in from "Vibration Of Life" to continue the "YEM" opening segment. | |
| 1994-10-23 | Gainesville, FL | 14:48 | This "Hood" from A Live One seems to peak, then breaks at 11:25 into a section combining '94 space, moderate dissonance, and loads of tension. When this oblique resolves back to normal "Hood" at 13:30, it's pure '94 bliss. | |
| 1995-11-12 | Gainesville, FL | 14:32 | An interesting and somewhat atypical 1995 "Reba." Really terrific playing from Mike and Fish informs a jam that, while not quite ambient, seems more aimless than recent versions. This, however, functions to make the conclusion that much more powerful, as the band, pushed by Trey, coalesces to play with great power before arriving at the "note." | |
| 1995-11-12 | Gainesville, FL | 18:41 | Very curious, "Free"-like jam. Trey finds a very cool theme to repeat for a minute or two as well. | |
| 1995-11-12 | Gainesville, FL | 11:28 | Just solid all around. Trey leads brilliantly, Page jumps to the 88s earlier than usual, and the rhythm guys punctuate the dynamic with an exclamation point. Great sounding Aud, or Aud/SBD matrix on the spreadsheet. | |
| 1995-11-12 | Gainesville, FL | 12:28 | Fantastic version and one of the most improvisational ever. Includes a Simpson's signal, a "Dixie" tease, Trey scatting, a "Woody The Woodpecker Theme" tease, a "Johnny B. Goode" tease, AND a wild and exploratory jam. | |
| 1995-11-14 | Orlando, FL | 12:40 | Insanely intense Trey section with a strong psychedelic edginess to it. | |
| 1995-11-14 | Orlando, FL | 15:32 | "Stash" -> "Manteca" -> "Stash" -> "Dog Faced Boy" -> "Stash". Many would rank this combination among the Top 10 Phish jams ever, and with good reason. This magnum opus is a stunning, thrilling masterpiece. | |
| 1995-11-14 | Orlando, FL | 1:46 | -> in from "Stash." Nice little side trip to "Manteca" in the midst of this phenomenal "Stash." -> back to "Stash." | |
| 1995-11-14 | Orlando, FL | 12:27 | -> in from "Manteca." This epic "Stash" continues. This section includes some cool grooving on "Esther" before growing intense and incendiary, and then settling down and -> to "Dog Faced Boy." | |
| 1995-11-14 | Orlando, FL | 2:52 | -> in from "Stash." A haunting version of "DFB" adds a psychological twist as this epic "Stash" begins to head home. -> back to "Stash." | |
| 1995-11-14 | Orlando, FL | 6:05 | -> in from "Dog Faced Boy." A blistering cacophony follows "DFB," before this monumental "Stash" arrives home on familiar, but unsettling ground. This entire "Stash" sequence is absolutely MUST-HEAR for any serious fan. | |
| 1995-11-14 | Orlando, FL | 11:01 | "Low Rider" teases, -> to "Immigrant Song" jam!! | |
| 1995-11-14 | Orlando, FL | 0:46 | -> in from "YEM." Brief jamming to the Led Zeppelin classic before -> back to the "YEM" jam. | |
| 1995-11-14 | Orlando, FL | 8:12 | -> in from "Immigrant Song" to return to this solid "YEM" jam. | |
| 1995-11-15 | Tampa, FL | 12:12 | Page solo > Trey singing scat and playing guitar with great audience reaction > Page solo > klezmer > prayer-like chanting from Mike > ending. | |
| 1995-11-15 | Tampa, FL | 18:38 | A multi-section "Mike's" begins with a rocking, somewhat dissonant opening section. In the 2nd part, Trey nicely decides to stay on guitar, and the jamming here is both intense and rocking, but also melodic. Finally around 14:00, the jam settles into a quieter, spacey section, but as Trey adds Leslie-infused touches, things end on a hopeful and upbeat vibe. | |
| 1995-11-15 | Tampa, FL | 11:31 | The jam includes an engaging, funky percussive section and an extended, intense buildup to the peak. | |
| 1995-11-16 | West Palm Beach, FL | 3:02 | A short background jam with Trey on percussion while he discusses the debut of the band/audience chess match. | |
| 1996-10-29 | Tallahassee, FL | 18:39 | With Karl Perazzo on percussion. The 2nd jam lives up to its accolades, but honestly, the 1st jam, even with Perazzo's strong presence is a bit plodding. But that 2nd jam, wow! It's literally a synthesis of Phish styles past, present and future. Combining '95-style arena rock with '96 percussion/keyboards and '97 funk, the building hose-filled jam including "MLB"-like moments is 100% Grade A Phish. | |
| 1996-10-29 | Tallahassee, FL | 4:59 | Guest percussionist Karl Perazzo lends added pop to this powerful pre-"Remain in Light" version. | |
| 1996-11-02 | West Palm Beach, FL | 9:33 | Karl Perazzo on percussion. Great version with a "tropical" feel. | |
| 1996-11-02 | West Palm Beach, FL | 5:35 | Karl Perazzo on percussion. -> to "Taste." | |
| 1996-11-02 | West Palm Beach, FL | 23:53 | With Karl Perazzo on percussion. One of the most energetic and exciting jams in Phish's career. | |
| 1996-11-02 | West Palm Beach, FL | 13:40 | Karl Perazzo on percussion. -> in from a 20+ minute "C&P." Straightforward but an intense and spirited version. | |
| 1996-11-02 | West Palm Beach, FL | 14:20 | Karl Perazzo on percussion. Wonderfully celebratory "Hood" in which Trey hits on a cool riff at 9:45 and Page is rock solid. | |
| 1996-11-02 | West Palm Beach, FL | 8:18 | Extended improvisational version with Karl Perazzo. | |
| 1996-11-03 | Gainesville, FL | 16:49 | Karl f'ing Perazzo! Page is really awesome in this version, too. | |
| 1999-12-30 | Big Cypress, FL | 10:07 | A wonderful compact jam that starts with some dark energy but soon enough taps into classic '99 sounds and soars into the stratosphere. Welcome to Big Cypress. | |
| 1999-12-30 | Big Cypress, FL | 11:15 | The wild Big Cypress version showcases some cool staccato playing (see also "Plinko") in the middle and an unusual jamming style, while still staying pretty close to the normal theme. | |
| 1999-12-30 | Big Cypress, FL | 6:44 | Though the band starts in a metal chug similar to other versions in the era, Mike is in a much more exploratory mood than normal, bringing the band briefly into a major key, and later initiating several interesting rhythmic exchanges. | |
| 1999-12-30 | Big Cypress, FL | 16:50 | A stunning, gorgeous jam. | |
| 1999-12-30 | Big Cypress, FL | 15:27 | "Immigrant Song" teasing early on sets the tone for this dark, angry wall of sound. A single jam segment, but it's heavy duty stuff, filled with spacey effects and a driving, seemingly accelerating Mike and Fish-led groove. | |
| 1999-12-31 | Big Cypress, FL | 9:23 | Great lead work from Trey and some nice fills from Fishman in this one from Big Cypress. | |
| 1999-12-31 | Big Cypress, FL | 20:01 | Multi-section, improvisational groove-based jam, including typically dark "SOAM" grooving, funky upbeat major mode jamming, and a -> to "Catapult." Vastly different from 7/15/99. | |
| 1999-12-31 | Big Cypress, FL | 1:17 | -> in from an excellent "SOAM." | |
| 1999-12-31 | Big Cypress, FL | 23:41 | Laid back but joyful millennial celebratory groove. This is feel good music. Unfinished with -> to "Llama." | |
| 1999-12-31 | Big Cypress, FL | 15:47 | A very different "Gin" begins with extended vocal jamming through 9:25, then shifts to an enchanting groove. | |
| 1999-12-31 | Big Cypress, FL | 13:15 | A tranquil ambient groove emerges with delay loops and an eerie Page solo on the Fender-Rhodes. -> to "Prince Caspian." | |
| 1999-12-31 | Big Cypress, FL | 30:23 | This wide-ranging, 30-minute monster from Cypress starts off in an excellent bluesy groove, before quieting down to a percussive, groovy, organ-led cowbell movement with anthemic riffing from Trey. The jam then coasts along at a low simmer, with very quiet, introspective playing and massive bass bombs, before exploding into an epic, earth-shattering firestorm of a conclusion at 26:00. | |
| 1999-12-31 | Big Cypress, FL | 22:22 | Crowd-assisted CHEESECAKE VJ. (No B&D.) | |
| 1999-12-31 | Big Cypress, FL | 20:14 | This is one of the center-piece jams of one of Phish's most storied and highly-lauded sets. This one quickly hits a slow groovier jam. With a good foundation set by Gordon and Fishman, Trey and Page have ample room to explore several gorgeous and melodic passages. | |
| 1999-12-31 | Big Cypress, FL | 26:16 | The masterpiece of the '99-'00 style "Sands" from the early morning at Big Cypress. A dark groove develops with all sorts of eerie effects added to the mix. Trey's lead work is scintillating and gives the jam an ominous feel as it builds to a devilish peak and then transitions to the hypnotic second movement replete with looped minimalist elements which continue into -> "Quadrophonic Toppling". A must-hear jam from the band's ambient era. | |
| 1999-12-31 | Big Cypress, FL | 10:11 | Debut begins with the deployment of Mike's Siket Disc vocal sample in the midst of the meditative, ambient jam which emerged from "Sand". Guitar and keyboard delay loops are eventually joined by a fuller arrangement but the volume never rises above a reverent hush. | |
| 1999-12-31 | Big Cypress, FL | 15:11 | The longest "Type I" version. If you like a slow, really stretched out "Slave," this one is for you. But the peak is nothing remarkable, in fact it sort of collapses under its own weight. | |
| 1999-12-31 | Big Cypress, FL | 20:01 | -> in from "Drowned." A patient, sparse, and well-textured groove-based jam. | |
| 1999-12-31 | Big Cypress, FL | 19:03 | New millennium Swamp Worm (it was played about 4:00 AM on 1/1/00) opens with all guns blazing before settling down with a Mike and Page led groove including "Bug" teases from Page. | |
| 1999-12-31 | Big Cypress, FL | 35:03 | Launches into phenomenally intense improv almost from the start as it embarks on an at-times-breathtaking journey. Eventually grows dissonant before briefly regaining its feel-good vibe. | |
| 1999-12-31 | Big Cypress, FL | 13:40 | 35th song in the second set is the infamous "Hood" fake out. Breakdown at 5:40 is sicknasty and Trey sounds as fresh as he did in 1983. Second jam features a reggae filth groove. | |
| 1999-12-31 | Big Cypress, FL | 8:44 | Closes out the Big Cypress festival with a short ambient outro. | |
| 2003-12-28 | Miami, FL | 13:33 | Very soulful, steady, patient, David Gilmour-esque solo from Trey. Jam peaks a bit before slowly cooling off. | |
| 2003-12-28 | Miami, FL | 11:39 | A beautiful but darkish jam develops on the back end of "Frankie Says" proper. The energy builds nicely, then recedes back to quiet space before > to a solid "Llama." | |
| 2003-12-28 | Miami, FL | 6:03 | > in from an extended "Frankie Says." Some awesome Page here and a cool and different Trey section. | |
| 2003-12-28 | Miami, FL | 13:04 | This one has everything to love about a good "Gotta Jibboo" jam - gorgeous Page/Trey interplay, a nice steady climb to the heavens, a massive peak that just plateaus and stays at the happy place, and whale call Trey delivers the icing on the cake. Sizable celebratory hose peaking towards the back half of the jam. | |
| 2003-12-28 | Miami, FL | 5:36 | Jarring, near heavy metal-like "Jam" breaks out after the second verse of "Suzy." Gnarly and raw, it eventually mellows into space before transitioning to "Theme From The Bottom." | |
| 2003-12-28 | Miami, FL | 13:38 | -> in from Suzy Greenberg. A jarring, near heavy metal-like "Jam" breaks out after the second verse of "Suzy." Gnarly and raw, it eventually mellows into space before transitioning to "Theme From The Bottom." | |
| 2003-12-28 | Miami, FL | 9:49 | > in from a jammed out "Suzy G." The boys rock this one pretty hard, but it's different, well played, and interesting. | |
| 2003-12-28 | Miami, FL | 13:36 | Jam has a nice rocking section beginning about 7:50, returns to "Hood" and peaks with great struming by Trey. | |
| 2003-12-29 | Miami, FL | 15:08 | A quality jam develops, then the band returns to the refrain to close, adding on an "old" coda of sorts. | |
| 2003-12-29 | Miami, FL | 9:40 | Multiple peaks and a high powered crescendo ending to this sold version. | |
| 2003-12-29 | Miami, FL | 7:04 | -> in from "Twist." Short, but definitely gets beyond "Boogie On" into a nice groove before -> to "Ghost." | |
| 2003-12-29 | Miami, FL | 11:36 | -> in from "Ghost." Jam starts in customary manner, but then features an excellent bass and guitar duet/jam. | |
| 2003-12-29 | Miami, FL | 17:43 | A moving version with some great, quieter moments before cycling up for a big conclusion. | |
| 2003-12-30 | Miami, FL | 8:34 | Lots of teases and some serious funk goodness. Oh and a full "P. Funk (Wants To Get Funked Up)" breakdown jam that absolutely rules. | |
| 2003-12-30 | Miami, FL | 12:48 | Start-stop jamming before Trey takes the lead in a rocking jam. Eventually veers into an eerie "type 2" jam and segues into "L.A. Woman." This version is unfinished and was completed at the following show. | |
| 2003-12-30 | Miami, FL | 4:04 | -> in from "Tube." Debut of this Doors' classic and part of a thematic sequence. > to "BOAF." | |
| 2003-12-30 | Miami, FL | 10:17 | Unusual and very good version that is bookended "L.A. Woman." "Birds" itself has a lengthy "L.A. Woman" tease, a crescendo semi-finish, and then segues back to "L.A. Woman." | |
| 2003-12-30 | Miami, FL | 2:56 | > in from "BOAF." Continues the "L.A. Woman"-type jamming. -> to "Makisupa." | |
| 2003-12-30 | Miami, FL | 2:10 | A short version that precedes the "P-Funk Medley." It comes to a full stop, as Trey banters about Fish singing "Touch Me" and then invites P-Funk on stage. | |
| 2003-12-30 | Miami, FL | 1:23 | "Makisupa" is reprised after P-Funk leaves the stage. Fish sings a line from "Touch Me." | |
| 2003-12-30 | Miami, FL | 16:16 | A nice and very different low intensity, melodic Trey-led jam emerges that is almost delicate before rebuilding to conclude. | |
| 2003-12-31 | Miami, FL | 11:50 | Following an "Auld Lang Syne" tease, the breakdown section begins at about 4:00 and is percussive and rocking, with "Jungle Boogie" vocal quotes from Trey as well as teases. The return to "Weekapaug" is intense, mildly dissonant, and includes a "Divided Sky" tease. | |
| 2003-12-31 | Miami, FL | 22:20 | Excellent and very improvisational version that gets far, far removed from "Stash" before finally coming home. Multiple sections, including quiet rhythmic stuff, effects-laden space, and some great upbeat jamming. | |
| 2003-12-31 | Miami, FL | 22:14 | Serious improvisation here with multiple sections, most fairly intense, but also including some quieter ones. | |
| 2009-12-28 | Miami, FL | 8:49 | Fun version. Alt-lyrics abound (relatively speaking), and Mike responds in kind, his standout play driving sparse, interesting improv, featuring mini-solos from Trey, then Page, with Fish terrifically on- and then offbeat. Notable for its highly musical low-end, a tripped-out > breaks for "Harry Hood," which, for several measures, maintains "Makisupa's" thumping structure. | |
| 2009-12-29 | Miami, FL | 16:35 | "Manteca"-like jam into space. | |
| 2009-12-29 | Miami, FL | 9:11 | Featuring far more by way of "fingers" than feet, Trey's nimble, direct attack drives this surprising, late-set jam, notable for its happy, carefree, vibe, welcome concentration of extra notes, and a few shreddy "peaks plus an ambient outro > "2001". | |
| 2009-12-30 | Miami, FL | 17:05 | The surprise "Type II" jamming vehicle from a stellar second set of the '09 NYE run. This train leaves the station at about 6:15 for 11 minutes of quality, wide-ranging exploration. > to "Velvet Sea." | |
| 2009-12-30 | Miami, FL | 9:36 | Short but sweet 3.0 version with multiple "Boogie On Reggae Woman" teases and riffs throughout. | |
| 2009-12-31 | Miami, FL | 14:15 | Subsonic (wow Gordo!) quantum-tunneling rock drill with an "Auld Lang Syne" jam that finds its way to the dentists office. [Great Mike early-on gradually builds to a nice peak. Then the jam shifts to a solid, snappy section replete with an "Auld Lang Syne" tease and more, and -> to "NO2."] | |
| 2014-12-31 | Miami, FL | 16:35 | A tall and tasty tropical sun splashed sugar rimmed whipped cream topped boat drink shared with old familiar friends provides the expected results. ["Ghost" jamming turns blissful, settles into serene, quieter musing, energizes and returns to "Ghost" before finally turning funky and spacey and > to a strong "Theme."] | |
| 2014-12-31 | Miami, FL | 12:49 | A fresh and varied take on the typical "Theme" jam leads into a stop-start section that turns percussive before "The Birds" stylings lead the attack with a smooth -> Cities. | |
| 2014-12-31 | Miami, FL | 10:35 | -> from "Theme", this "Cities" jam starts with some nice staccato work from Trey, passes through a Manteca-like section, and settles into the 3.0 Type II bliss zone. | |
| 2014-12-31 | Miami, FL | 8:11 | This excellent version focuses less on samples and vocal manipulation, while integrating a more nuanced sense of dynamics. At around 6:00, the band creates a brooding psychedelic mood, which culminates with guitar loops sounding triumphantly over the bass bomb-enriched, final chord repetition. Once again, "Martian Monster" closes out a highly regarded, hose-heavy set. | |
| 2014-12-31 | Miami, FL | 17:08 | Beautifully-interactive melodic jam that soars for quite awhile! | |
| 2015-01-01 | Miami, FL | 9:56 | A plus outro with more varied guitar and organ riffing from Trey and Page that pulses into > "Winterqueen". | |
| 2015-01-01 | Miami, FL | 7:47 | Nice chord strumming and other melodic variation by Trey in a fiery and crescendo-oriented jam. | |
| 2015-01-02 | Miami, FL | 10:06 | Similar to 8/6/10 and many of the '00 versions, in which the jam is really more about a groove than it is Trey rehashing the basic "Mike's" jam melody for the 400 and umpteenth time. Both Mike and Fish play with ferocious intensity in this solid version. | |
| 2015-01-02 | Miami, FL | 9:50 | At 5:40, the jam breaks into dark, funky groove with Page working the B-3. Great teaming by all four as each adds color to a solid version. | |
| 2015-01-02 | Miami, FL | 16:31 | Very atypical jam section with Trey on Marimba Lumina and Mike on guitar, and fierce work from Page and Fish. | |
| 2015-01-03 | Miami, FL | 15:29 | An inspired jam which features strong soloing by Trey, great teaming with Page, and very solid Fish, whose fills and creative accents gradually power up as the jam intensity rises. | |
| 2015-01-03 | Miami, FL | 25:46 | The band makes a breathtaking, powerful statement with this improvisational and multi-section juggernaut. The now common 3.0 "Hose" style is enhanced by a swinging vibe and serious power rocking, bookended by great percussive funk. | |
| 2015-01-03 | Miami, FL | 9:51 | -> in from "Light". A minute-long vocal jam pushes into a more upbeat, rocking section led by Trey and Fish, before settling in murkier waters that lead to > Sand. | |
| 2016-10-16 | Jacksonville, FL | 18:17 | After rolling through solid in-bounds territory, the jam fractures into several sections, including "Woo"-like stop/start play, some nice upbeat playing with a swinging vibe, and a return to more rocking action with "C&P" vocal quotes, before settling to percussive transition space. |
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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