, attached to 2013-10-18

Review by Hose_jam

Hose_jam Review for Carini-timings from livephish recording

Notes: Tour opener show, Carini appears in the middle of the second set, around 35 minutes into the second set, the 6th song played and the second "jam" song (Twist opened the set).

Soundscape jam:
3:05- Jam begins, Fishman on ride cymbal, Page on grand piano, Trey playing some high sustained notes on the fretboard. Trey drops out and at 3:50 he comes in with some effects-laden scratching immediately taking the jam into a layered sound feel.
4:15 Gordon drops out briefly and comes back in with a thumping bassline. This approach is found throughout this jam with the band members all responding to a noticeable change by one member and all responding in the next measure. Page switches around on keyboards settling on organ. Trey is playing some effects-laden notes here. At 4:52 Gordon puts on the Fishman Powerbass effect taking full melodic responsibilities as Page continues to lay the organ sound over the jam.
5:32 Trey comes back in with a melody. Gordon keeps on his effect and switches back to the clean bass sound. Page is really leading the jam in this part with Trey patiently listening.

Major key jam:
6:25 Trey modulates on a vamp chord and Page follows on the organ. Page does an amazing job of layering the sound over this section as Trey is less active only adding some rhythm and effects. 7:14 Page teases Tears of a Clown and Fishman switches to the hi-hat giving the jam a more driving feel compared to the space previous.

8:11 Trey rhythmically scratches a clean chord and the band locks in immediately. 8:32 is a seamless communication with all the band and they lock in. Fishman plays fill after fill, Trey vamps a nice melody on the upper register, Page keeps on the organ nicely eventually adding the grand piano.
9:31 Trey keeps playing his melody and Page compliments him nicely on the grand piano. Fishman answers Trey's rapid notes with the snare, great communication. This jam peaks nicely.
11:10 Jam peaks and Trey plays a riff closely resembling Quinn the Eskimo and Page plays a full on tease of the melody of the verse at 11:20.

Minor funk
11:25 Trey modulates the jam again and the band immediately locks in on a dime. Mike takes over with some funky lines, 11:59 Fishman changes the beat and adds some cowbell, giving a serious funk breakdown.
12:42 Trey settles for a less driving role in this section playing some tasteful licks and coming in with a reggae upstroke. Extremely syncopated jam, and Trey puts some wah that shifts it to full funk mode.
13:39 Trey comes in with a melody line and repeats it a few times before settling on a chord, once again the band is immediately responsive. After a Fishman tom fill signals the band...

Page-funk
14:15-The band vamps on a single note for a few measures seemingly waiting for someone to make a move. Page really leads it by playing a two note walk down (14:36), the rest of the band immediately mimics the next measure. Page then slips over to the clav and lays down a solo that is extremely funky. The band rides this groove until the jam settles on the opening chords of BDTNL, though it seems Fishman wanted to keep the jam going as he dropped a new beat right (15:57) before Trey signals BDTNL.

Overall this jam contains many of the elements that would be present throughout jams in Fall 2013. If anything it demonstrates just how closely the band is listening to each other as many of the changes occur within a measure of a particular member "signalling" something. Trey is noticeably more patient opting for rhythm and phrasing instead of rapid fire notes. This results in a more "soaring" peak than a classic tension and release peak.


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