After a terribly (and amusingly) botched “Rift,” the band comes out with a “Free” that is one of the best versions ever played. 33 minutes of dynamic improvisation that features an especially strong performance from Page. At about the 21 minute mark, the jam moves into a quiet, breathtaking sequence featuring Trey whistling that evokes memories of the 12/29/94 Bowie.

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Thrilling. This jam is an adventure comprable to some of the very best jams from this peak period of Phish. It may just be the most interesting “Disease” the band has played (no offense to 11/12/94 or 6/25/97).

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Most of you know the Paradiso Wormtown “Stash”—meet its lesser-known little brother, the Vienna “Stash.” A great but straight ahead “Stash” seems to be winding up only to dissolve into a extended funk jam that will have you dancing by the time “Ghost” arrives.

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“Antelopes” that venture into true experimental improvisation are few and far between—and this is the best of a very short list. This Desert Sky “Antelope” goes far off the beaten path into a beautiful jam, before finding its way back to close things out.

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97-98 is known as the funk period, but Phish always had some funk — mainly in the form of YEM. So, what better vehicle for the cow funk treatment of the 97-98 period? This “YEM” got that treatment. At 29 minutes, the funk goes on (just about) forever—without a dull moment.

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I love ’99, but it’s true that the band could sometimes be sloppy or disconnected that year. This is not one of those times. 29 minutes of plugged in, focused playing that shows off 99 at its best—a combination of subtle textures, abstract soundscapes, and powerful grooves.

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There a lot of reasons to love the reunion run, but the jams are not usually considered one of them. That’s true for the most part, but this is a huge exception. A 22 minute adventure with a gorgeous Trey-led segment that starts about mid-way through, followed a section of stunning Mike soloing, and wrapping up with a Fish/Trey race to the finish. This one flies under the radar. It shouldn’t.

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A 34 min masterpiece that every fan should hear. Like most of the rambling 30+ minute jams of the era, it breaks down at points, but there are several sections of thrilling, jaw-dropping playing that could each have sustained an amazing jam out of “Simple” by themselves. The jam ends with delicate, gorgeous outro followed by a huge ovation. Perfect.

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Unquestionably the best “Gin” of 3.0—and one of the very best jams of 3.0, period. The creativity is pulsing in this jam as the band locks together for 18 minutes of adventurous improvisation that—like the very best of Phish jams—sounds almost composed. This is a jam that stays with you.

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Any “Piper” played at SPAC would be overshadowed by the epic, essential 6/19/04 performance. But this “Piper” holds its own, and then some—it’s a stunning, tight powerhouse of a jam that features a thrilling peak from Trey. My favorite 3.0 version (though 10-30-09, 6-27-10, 6-15-12, 9-4-11 and 12-30-11 are all must hears).

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This entry was posted on Thursday, May 30th, 2013 at 10:58 pm and is filed under Uncategorized.
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Bad Nirvana I would think that Trey tries not to look at AG. Must be uncomfortable to be trying to concentrate on playing a song and having that clown dance like a flailing reindeer that just crashed through a store window in the front row. not as cool as the… chicks in the front row

its funny sitting all around a venue like MSG on multiple nights and being able to spot him from anywhere in the room from his over-exaggerated “dancing”. I think though if I saw him in the lot I would say hello just to see what hes like in non-front-row life.

(I can’t fault someone who loves phish jam and just wants to dance. He doesnt yap, take pics, text, throw glowsticks, or puke/pass out/spill beer on you. If only there were more fans with those qualities)