Jam Chart for shows in the city of Tucson, AZ (9 entries)
| Info | Notes |
|---|---|
|
Reba (11:58)
|
Cool Fish throughout the composed section, with fun fills from Page. Mike and Fish create a very musical, yet laid-back foundation, which Trey uses to great effect, his playing concentrated, focused, and somewhat subdued. Cerebral. More great percussion propels Trey to enter a passage akin to (but not exactly like) stop-start playing, before the musicians gel to work through a build featuring full-band "DEG"-like playing and a legit peak. |
|
Antelope (13:06)
|
Very cool and very exploratory jam unfolds that gets far, far away from "Antelope" before spiralling into a sick peak. |
|
Maze (10:53)
|
> in from "Fee." Ghostly and diabolical. All kinds of wailing screams from Trey's guitar push this one over the top. |
|
Gin (9:53)
|
Very exploratory right off the bat with a good, rocking and percussive jam. Returns to "Gin" in the end, but in a seriously rocking manner with a -> to "Lizards." |
|
Fluffhead (13:56)
|
There's something special about the band from Vermont playing in the desert, and this "Fluffhead" is no exception. An extremely tight, well-executed version, this one is also a straight out rocker, without any sense of the late '90s more mellow approach to this song. Trey fires off a cool "Bring It On Home" tease and provides edgy contrast to Page in Clod, while Arrival is compact, but thanks to Fish et. al., IT will kick your ass. |
|
Possum (11:43)
|
Intense, powerful version with a "Bring It On Home" tease (Willie Dixon song popularized by Led Zeppelin) in the intro. The jam incldes a "Give Me Back My Wig" tease (Hound Dog Taylor) from 5:23 - 5:46. |
|
Drowned (17:19)
|
Huge, powerhouse version, featuring incendiary, Jimi-esque Trey, and pounding Page. More wall of sound than musical, the jam drones until, set off by some scattershot riffs, play cools to assume a remarkably chill, wavy groove, full-band improvisation suspended in sound somewhere between 99 and what would arrive circa 2000. |
|
Vultures (12:05)
|
If not quite a carrion, than perhaps a clarion call to the desert's mystic surroundings. Trey breaks from the vocals to launch an all-out assault, his signature 1999 tone on full display. After setting a loop, Trey's beautiful, patterned soloing, artfully phrased, is matched by Page, with Mike soon leading the band through deep and cerebral play. Fish's perfect off-beat and stylized play soon smooths, with Trey's cool, slashing chording informing the -> "LxL". Awesome. |
|
Antelope (17:09)
|
A killer Antelope that starts off with swirling, whirling loops and a relaxed energy typical of Fall '99, builds up tension by Trey playing some stabbing chords, then builds to a ferocious peak. Proof positive that Antelope still had its fastball even after the mid-90s. |
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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