Jam Chart for Reba (113 entries)
| Date | City | Timing | Notes |
|---|---|---|---|
| 1989-10-01 | Burlington, VT | 11:55 | Debut and different arrangement, ending in a bag it, tag it vocal jam. Dedicated to "the spirit of Nancy." |
| 1989-10-10 | Burlington, VT | 12:25 | "Reba's" second performance sounds like a fun studio outtake with Trey, as if scatting, effortlessly flubbing and making up lyrics along the way. Notable also for the alt-arranged "Bag it, Tag it" bit which, since scrapped, moves nicely into more recognizable, composed, play, Fish impresses before the band breaks for a strong, lilting, airy jam. Pieces of 10/10/89 once circulated on a tape labeled "10/13/89," but Kevin Shapiro determined that this "Reba" was performed at the Front. |
| 1989-11-16 | Northampton, MA | 10:33 | First version without "Don't Get Me Wrong" segment. |
| 1990-02-09 | Lancaster, PA | 11:58 | Trey creates such incredible sustain (and on two separate occasions) that this effort alone merits consideration. Or you can simply use the time listening to Mike, Page, and Fish, who, fully in-synch, play expertly one off the other, creating that classic "Reba" syncopation. |
| 1990-03-09 | Burlington, VT | 12:08 | With a noticeably faster tempo for the era, the inventive and sustained "Manteca" teasing grabs one's attention at first, but the dynamic modulation and inspired interaction between Trey and Mike is what truly impresses, here. A highly musical build, with Trey trilling and scattering notes - while maintaining the jam's signature theme - further cements this version as an early classic. |
| 1990-05-13 | Burlington, VT | 12:13 | Very improvisational jamming distinguishes this early thriller. The excellent recording showcases the band sounding fantastic throughout the composed section. Great Mike underpins this version, which finds Trey leading the others through the jam, modifying his tone, and deftly modulating intensity to create some of his most interesting and varied lines to date. |
| 1990-05-19 | Concord, NH | 12:35 | Seemingly inspired of a single vision, Trey's tone and soulful sustain evokes the mournful pathos of the band's signature 9/14/00 version (Live Phish 3), created more than a decade later. Incredible. |
| 1990-10-31 | Colorado Springs, CO | 10:16 | While compact, Trey uncovers an absolutely infectious groove, and, predictably, an incredible jam ensues. Unpredictably, however, the band arrives at the "note" absent Fish's tomming, with the version abruptly soaring into space. |
| 1991-02-01 | Providence, RI | 11:57 | A rhythmic composition carved from a great, grooving vibe finds Trey leading the band through a jam featuring "Dixie" teasing, warm and graceful shifts in tempo, super huge notes bent and sustained, all of which builds into inspired "Dave's Energy Guide"-like playing. |
| 1991-02-03 | Burlington, VT | 12:01 | One can debate when the finest theme emerges, but 7:30 seems to account for "must-hear" playing, with Trey's dazzling, "DEG"-esque soloing dizzying, offset by super play from Mike (who sounds great across the entire recording). More great guitar follows, with Trey working up and down a series of scales, before locking in upon an incredible theme. Brief and compact, the version finds all four members playing with purpose and passion, thus offering something for everybody. |
| 1991-04-20 | Rochester, NY | 11:56 | Terrific, soaring Trey, complimented by full-band play with the musicians working in concert through a calculated passage of metered time and measured space. |
| 1991-07-14 | Townshend, VT | 12:33 | Trey's poised and passionate soloing belies this stellar show-opening version's early date. After weaving through multiple expressive phrases, he heartily peaks the jam with a strong assist from Fish. |
| 1991-08-03 | Auburn, ME | 11:39 | Trey's wonderful tone in the jam proves the perfect antidote for a minor flub in the composed section. Fish drives a fiery jam, with Trey riffing through a set of wonderful ideas, delivering cool blasts of notes markedly sustained, culminating in more "DEG"-like playing. |
| 1991-10-13 | Olympia, WA | 12:41 | Mike and Fish lay the foundation for a really great, groove-based jam. Nothing over the top. Just really thoughtful and attentive playing, with Page providing on-point fills. Trey's playing is patient and plucky, which affords room for a great build and a huge payoff, if not quite traditional "peak." |
| 1991-11-07 | New Orleans, LA | 11:03 | A fast and frenetic composed section gives way to an awesome jam which, among other attributes - great shifts in rhythm and tempo, "Dave's Energy Guide" teasing - features playing evoking elements of "Divided Sky" (7:50). Compact, energetic, and experimental, a noticeable step forward in the song's evolution. |
| 1991-12-07 | Portsmouth, NH | 11:41 | Still tinkering, this "Reba" is notable for a very cool and unique jam, which finds Mike out front early, creating a bouncy, infectious beat. Trey modifies both his tone and the intensity of his playing, before alighting upon a jazzy sort of theme. He then runs rapid-fire through a series of notes, before whipping the band into a controlled frenzy which ends dramatically. |
| 1992-03-12 | Burlington, VT | 11:07 | A fantastic version which finds Trey exiting the composed section and bending a series of strange notes, a means to either augment - or create - a wonderfully strange and demented tone. This section yields to dizzying, relentless playing, which runs though a powerful build up to the "note." |
| 1992-03-14 | New York, NY | 11:14 | Notable playing in the composed section, featuring incredible percussion and spot-on syncopation. Mike and Fish maintain a cool vibe, with Page providing great fills. Fish is the star here though, with Trey seemingly soloing in response to Fishman's pinpoint persistence. Trey locks on to a great little theme, and thanks to more punishing drumming, he leads the band through a great rise, into a powerful, compact, peak. Even the drumming post-whistling is compelling. |
| 1992-03-25 | Charlottesville, VA | 11:31 | Yet again, Trey reigns supreme, locking in on another great theme. Totally in control, he deftly adds to this motif an array of surprising riffs, a sprinkling of sparkling notes, and the perfect blend of intensity. This strong playing bleeds into, and through, a soaring peak. |
| 1992-04-12 | Tucson, AZ | 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. |
| 1992-04-17 | San Francisco, CA | 14:06 | Progressive and dynamic, this "Reba" features excellent full-band play. While great in a vacuum, the notable rhythmic shifts, accentuated by marked and exploratory syncopation, provide a crystal ball glimpse into the improvisational future of this most Phishy of songs. |
| 1992-05-08 | North Tonawanda, NY | 12:52 | A fantastic example of improvisation and exploration. Launching into the jam section, Trey fully modifies his tone (think "Esther"). Page colors the passage with creative fills, which results in a hushed, sonic soundscape. A strong build develops into concentrated "DEG"-like playing, before Fish toms this powerful version to a close. |
| 1992-11-30 | Pittsburgh, PA | 11:26 | Strong Page and a percussive bent highlight the composed section. Trey scratches the band into the jam and fires off a series of singular, laser-like notes, before the playing settles into an unusual and delicate passage, both incredibly musical and wonderfully subdued. Fish permits the playing to go and go, which results in a soaring conclusion. (No whistling for the first time since "Reba's" debut.) |
| 1992-12-05 | Chicago, IL | 10:03 | Busy and bouncy, Mike and Trey lead the band through "Reba" and into an "I Walk The Line" sandwich. In "Reba," the band modulates intensity, with Trey slashing and shaping his tone, and Mike laying down a great, infectious groove. Fish offers much by way of syncopation, and Page lends colorful fills, before the band dials the sound down to a complete stop. |
| 1992-12-05 | Chicago, IL | 1:24 | Typical "Reba" whistling serves to complete the "I Walk The Line" sandwich. |
| 1992-12-07 | Minneapolis, MN | 12:33 | A big boatload of energy underscores a goofy composed section rife with screaming, yelling, and fan interaction. Mike's playing is particularly strong, with Trey responding in kind, the musicians bouncing ideas one off the other with great verve and tenacity, but never at the expense of sheer musicality. Fish and Page soon reinsert themselves into the fray and, seemingly, the music becomes informed by "two minds." A really cool and fun version. |
| 1992-12-10 | Kalamazoo, MI | 12:22 | Wonderful, somewhat restrained drumming (even the vocals feel hushed) creates a terrific pace and works to steer the jam, which seems carved from space, with Trey creating an incredible droning, echo-like effect atop some really great bass. The band, ever dynamic, modulates intensity, with Page way up in his register, and Trey, like a machine, repeatedly running through a set of notes wholly melodic, and expertly placed. |
| 1993-02-07 | Washington, DC | 13:54 | A crazy composed section with a lot of hissing and screaming (affectionately known as the "Baguette" version), breaks for a jam featuring playing both fluid and somewhat jarring. In time, Mike provides a great beat over which Trey creates a cool vibe. The band modulates intensity to inform an exploratory space, within which the musicians coalesce to create a sound supercharged and sonic. Trey then pushes the band through an erratic, but wholly controlled peak. |
| 1993-02-12 | Poughkeepsie, NY | 13:12 | After scratching his way into the jam, Trey plays melodically, offset by Page, who features prominently in this version, offering accents and a series of fills to compliment the version's central theme. Mike and Fish sync up before Trey enters into another musical passage, infused with any number of notes, before the band works through a few false peaks as means to alight upon a nice, soaring release. |
| 1993-02-18 | Knoxville, TN | 13:05 | Great drumming through the composed section mellows into a smooth, Mike-driven beat. Trey modifies his tone and hits a series of scattershot notes before infusing the jam with a warm melody and cool trilling. The band toys with an array of tempos and speeds before Trey seizes upon a great theme which is worked though a strong build into a nice peak. |
| 1993-02-20 | Atlanta, GA | 11:42 | Directly before "Tweezer" walks away, this supercharged "Reba" jump-starts this historic second set with wild and inventive play, notable for "Woody Woodpecker" teases and syncopated madness. |
| 1993-03-09 | Colorado Springs, CO | 15:27 | A bizarre composed section usually bodes of cool things to come, which, in this particular instance, arrives in the form of a series of subtle effects from Trey, who then begins to play atop a very chill yet musical beat driven by Mike and Fish. Again, the band moves as one, and the playing gains a sort of restrained momentum, with the build informed by huge notes and more direct playing from Trey, who works to augment his tone to trill before creating a period of wonderful sustain. |
| 1993-03-22 | Sacramento, CA | 14:48 | Really fluid and laid-back jamming, with Trey all but absent (relatively speaking), as if inciting the others to respond. This results in an all but total dialing down of the sound. Not so much a secret language, as a testament to the band, who, via subdued and nuanced playing, manage to maintain the structure of the jam before Trey works through a series of cool rhythmic shifts and wonderful sustain to arrive at the "note." |
| 1993-03-27 | San Francisco, CA | 13:28 | Attentive version with Trey totally on point, his playing rife with melodic content and truly inspired, as if tapping into some sort of otherworldly intent. A wonderful build with some impressive Mike thrown in. |
| 1993-05-08 | Durham, NH | 13:08 | More subdued, "underwater" jamming, with the band winding the sound way down. Only Trey never ceases playing, and the effect is instant and sustained beauty. Page provides great fills as, trilling and shredding, Trey drives the band through a soaring peak. |
| 1993-07-30 | Antioch, TN | 13:56 | A pretty, inspired, patient, and increidbly quiet jam (check this out with headphones) which, in addition to melodic, and typically inventive Trey, features wonderful work from Page. Mike and Fish maintain a breezy, airy sort of rhythm as the version steadily gains momentum, the musicians nicely modulating, before Trey trakes over, building the jam to a blistering peak. |
| 1993-08-12 | Rochester Hills, MI | 15:20 | Syncopated grooving that departs the "norm" and features a fun, intense breakdown, with truly remarkable full-band exploration, a la "David Bowie." The playing almost gets pushed back to "Reba" territory before collapsing totally into improvisational "Bomb-Facotry-esque" wonkiness. |
| 1993-08-16 | St. Louis, MO | 19:25 | Magnificent. A huge, fantastic, multi-faceted, and improvisational odyssey, this version features three-distinct segments which culminate in a blistering peak. A truly wonderful "Reba," the second to arise in the middle of an historic month for the song. |
| 1993-08-26 | Portland, OR | 12:48 | The third, and final, of August 93's tremendous "Rebas." Absolutely BEAUTIFUL playing in what, for the period, typically constitutes the quiet section, before another great build makes for a wonderful conclusion and a bodacious "hell yeah!" release. |
| 1993-12-31 | Worcester, MA | 13:17 | Phish caps 1993 with a fan favorite. Trey dazzles, his playing incredibly fun and infectious, matched by Fish on his blocks. A festive, celebratory groove ensues, before building to a shredding peak. An exclamation point on a terrific year for "Reba." |
| 1994-04-04 | Burlington, VT | 11:20 | Following a few flubs in the first "Reba" of 1994, Trey blasts on through the composed section and modulates intensity. After teaming up with Mike to tease "A-Hunting We Will Go," super soloing dominates the version - listen for Page syncing up to develop extended "Batman Theme Song" teasing - which becomes wonderfully syncopated, with plucky guitar offset by dynamic Fish. This builds into a "heavy metal" sort of frenzy, with the playing becoming exceedingly, and exceptionally crazy, before the jam spikes to a pointed peak. |
| 1994-04-13 | New York, NY | 16:22 | Another subdued jam with Page again complimenting Trey, whose patience is offset by Mike and Fish, their fills particularly spirited and on point. Trey works through patterned playing, which, cumulatively, has an almost hypnotic effect, before a concerted push works the jam up and into a mini-breakdown before rising into a trill-filled, soaring, release. (A strange bit of space before whistling brings this version to a close.) |
| 1994-04-22 | Columbia, SC | 13:29 | Trey seems to pick up the notes that he "dropped" during the composed section, sprinkling them throughout an experimental jam that feels jazzy, in large part because of Trey's tone, and band-wide shifts in tempo and intensity. Page's play is particularly pretty, and improvisational flashes abound, including protracted "DEG"-like teasing as the band builds to a strong conclusion. |
| 1994-05-10 | Santa Fe, NM | 13:41 | Extremely quiet and contemplative play from the composed section spills into the jam, which is dialed down to an all but erasure of sound. Trey employs a series of great, jazzy chords, before inspired soloing drives the version up and through a typically great build. With Page sounding great upon his piano, Trey alights upon a cool theme, before soaring sustain and a shredding peak crests and winds down via some great full-band play to the "note." |
| 1994-05-14 | San Diego, CA | 14:14 | Trey modifies his tone and creates a cool, jazzy vibe. Great Page (electric) and Mike (eclectic) accent soloing which informs a lilting, airy passage. Fish creates a great beat. And the band, as one, works the version to dizzying and dazzling heights. |
| 1994-05-27 | San Francisco, CA | 12:44 | Sweet jam featuring truly dynamic modulation and really awesome playing from Trey. The sort of version you could listen to all day. (Or at least Four times. Focusing upon each musician, independently.) Trey alights upon a great theme - accented by cool playing from Fish - before the jam swings through a build both measured and melodic to, in time, become explosive. |
| 1994-05-28 | Monterey, CA | 12:16 | Super version. Trey drives a great, dark, direct yet swinging groove, with Page providing really colorful fills. Mike is on-point, his play incredible, and, with Fish, inciting a sort of charge from Trey who creates an electric solo through an incredible conclusion. |
| 1994-06-13 | Kansas City, KS | 13:45 | Trey scratches his way into the jam and incites an incredibly infectious groove. Fish works counter as means to inform the beat, and, as Trey begins to play proper, the theme remains the same, and the result is sweet. Page offers perfect fills, while Mike creates a somewhat strange and discordant line (which Trey assumes for several measures), before the band breaks to shape a really unique conclusion which morphs into a totally euphoric release. |
| 1994-06-19 | Kalamazoo, MI | 13:44 | Strong, Mike-driven version, featuring great percussion. Trey's playing is as fast as Page's fills are delicate, and the band works through several ideas and progressions to build a jam that, at points, sounds like "David Bowie." |
| 1994-06-24 | Indianapolis, IN | 13:45 | Great theme out of the composed section, notable for really quiet and wholly unique playing. The band continues to explore and push boundaries, with the jam becoming "primal" and totally out of the ordinary. Very cool. |
| 1994-06-29 | Raleigh, NC | 15:27 | Incredible play from Trey in the composed section, accented by awesome Fish. Precision syncopation yields to a Mike-driven jam, with Page providing great fills as the band explores a number of distinct musical passages. Trey completely distorts his tone to lead an atypical and "growly" jam, which again finds the band pushing boundaries and toying with all sorts of rhythmic shifts and sonic experimentation. |
| 1994-07-03 | Old Orchard Beach, ME | 7:50 | Following the first electric version of "The Old Home Place" (and only the second performance in the band's history), "Reba" isn't in Maine any longer, as the band, driven by extended, airy, and introspective play from Trey, masterfully makes for "Somewhere Over The Rainbow." |
| 1994-07-03 | Old Orchard Beach, ME | 4:59 | A true wizard, Trey works a fanastic -> to bring the band back to "Reba." More fantastic full-band play, driven, in large part, by Mike, brings this notable version to a close. |
| 1994-07-06 | Montréal, Québec, Canada | 16:26 | Classic version featuring an incredible groove. Mike and Fish lay the foundation as Page becomes more prominent and then Trey just slays. After Trey develops and works through a fantastic theme, full-band play becomes more direct and straight-forward, with a "Paradise City" - or, circa 2014, that "REO Speedwagon" - sound, before the band builds to a powerful, fist-pumping peak. |
| 1994-07-08 | Mansfield, MA | 12:27 | Great jam featuring "Manteca" teasing and super Trey. After the band disassembles their sound, soaring play is once again restored as Trey whips through a series of nasty licks. Arguably a > into "Yerushalayim Shel Zahav" in lieu of whistling. |
| 1994-07-15 | Wantagh, NY | 12:48 | Cool jam with Trey slashing his way into the jam before incorporating some really cool effects. The band modulates intensity, and Trey teases "Theme from Popeye," which the band morphs into full-band playing. A bit of a fake-out into the build produces super experimental playing, but Trey muscles the version to a fiery conclusion. |
| 1994-10-07 | Bethlehem, PA | 14:25 | A rousing composed section incites a huge fan reaction, which bleeds into the jam, notable for an infectious groove - marked by solid Mike - with Trey deliberately building through cool riffing, a rise in sound before a quick dip in intensity finds him augmenting his tone to inform really great play. Cool Page. And on-point Fish. Before the band surges up and through a trilled-out and soaring peak. |
| 1994-10-18 | Nashville, TN | 17:34 | A huge "Reba" remarkable in that the band departs a really pointed and direct groove to enter a passag of marked space, noted, as some, for sharing similar qualities of "Eyes of the World." Complete with "Dave's Energy Guide" teasing, an experimental, probing version which again pushes against traditional form and convention. |
| 1994-10-26 | Boone, NC | 15:13 | Another big "Reba" which features more by way of experimental and unusual play. After a remarkable "blissful" section, the band builds to a gigantic peak(s) and a towering release. |
| 1994-10-31 | Glens Falls, NY | 15:34 | Thick grooves and beautiful melodies.... A quintessential Reba. |
| 1994-11-16 | Ann Arbor, MI | 14:37 | Thunderous percussion running throughout the composed section is offset by a protracted period of sustained and pretty calm incited by Trey, which Page sustains for some time. This idea is again assumed by Trey (very cool) before Mike drives the jam forward. Trey's tone is great as he plays with - and off - Fish, the jam then breaking down a bit and the play becomes truly dynamic as the band builds towards a powerful peak, filled with wonderful and warm sustain, and then slashing Trey (who seems intent to rage). |
| 1994-11-20 | Madison, WI | 12:46 | Another jam informed, early on, by a passage of quiet, contemplative play, and marked staccato playing from Trey and super Page. Fish is busy upon his blocks, and Trey works through a great theme (infused with a warm tone) beneath which Mike offers mellow "underwater" grooves to lead the band through a deliberate, and, at times, what sounds like "grinding" build towards a rousing conclusion dominated by Fish and Trey. |
| 1994-12-08 | San Diego, CA | 17:51 | Huge, sprawling, epic "Reba," which sees the band tossing form and convention into the tub to produce one of the finest versions of 1994. |
| 1995-05-16 | Lowell, MA | 15:00 | The band locks into an incredibly cool groove before Trey, masterfully shaping his tone, leads the band into an extended improvisational passage enchanting and mysterious. A blend of warm sustain and dynamic modulation eventually yields to strong soloing, with Trey building the jam to a soaring, searing peak. |
| 1995-06-13 | Maryland Heights, MO | 13:59 | Really cool and experimental playing from the jump. Trey scratches his way into the jam and synchs up with Mike to exchange a cool set of complimentary notes. This builds into a series of measured, effects-enhanced chords, and great full-band play, featuring quiet, contemplative exploration, and marked rhythmic shifts. Trey's soloing dazzles, as the band works to a characteristically strong peak. |
| 1995-06-19 | Noblesville, IN | 16:12 | Jamming both ethereal and measured builds from a pensive calm into a dreamy sort of intensity. Trey locks in upon a great, grooving theme. Strong work from Mike and Fish incites more fueled and focused soloing from Trey, which, offset by some impassioned Page, rises to a great release. |
| 1995-06-23 | Stanhope, NJ | 14:46 | "Plinko" play from Trey, periodically offset by strumming, jumpstarts the jam, and works to create incredible syncopation. Predictably great guitar is matched by Mike, with the two musicians not so much dueling, as driving the version through any number of impressive ideas and rhythmic shifts. Great and unpredictable improvisation follows, with all four members contributing in equal measure, as if exacting a singular vision. |
| 1995-09-30 | Mountain View, CA | 13:09 | > in from the "White Rabbit Jam," perhaps the earliest glimpse at the band attempting to execute "Reba" at breakneck speed. After a clean composed section, Trey powers through the version, the playing straightforward and direct until the band slows at 7:40 to create an interesting and controlled passage, akin to "DEG"-like playing, before breaking for a spirited conclusion (the band once again playing incredibly fast through the whistling section). |
| 1995-10-14 | Austin, TX | 14:54 | Great "Reba" not far removed from some of 1994's finest (10/18; 10/26). Expansive and far-ranging, the band plays quietly and patiently, covering a lot of ground, and working as one to incorporate calculated, dynamic melodies, and extended passages of sustained grace. |
| 1995-10-21 | Lincoln, NE | 13:58 | Super Fish sets a shuffling beat atop which Trey grooves, and a wonderful, rolling jam ensues. Mike incites a mini-breakdown, from which a concerted passage of energy builds to burst. Trey employs any number of staccato-like licks, with Page matching him upon his piano. Huge sustain and powerful trilling drive this version to a thrilling conclusion. |
| 1995-10-25 | St. Paul, MN | 16:43 | Trouble in the composed section is atoned for by way of a remarkable, multi-faceted jam. First, Mike and Trey team to create an extended passage of contemplative, exemplary play, with Fish and Page providing on-point fills. This soon builds into powerful and direct playing, with Trey's dynamic soloing offset by the others, in particular Mike (best experienced in SBD as part of Live Bait Vol. 12), before Trey goes off, incredible, shredding guitar not so much building as exploding, resulting in a memorable, fiery peak. |
| 1995-11-09 | Atlanta, GA | 15:44 | A chill and relaxed jam anchored by great bass and drums, colored with pointed fills from Page and wonderful playing from Trey. The band locks upon a cool theme, the groove easy-going as Trey augments his tone. Spirited play cycles through and into a passage featuring dynamic modulation and great syncopation. More great guitar builds steadily into a euphoric release. |
| 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." |
| 1995-11-24 | Pittsburgh, PA | 14:22 | > in from "Theme," more tight playing in the composed section gives way to really cool Mike, soon joined by Trey (who runs through a great set of chords), and this colored by incredible, off-beat Fish. Page offers a pretty splash of sound before Trey enters a truly melodic solo, Mike matching him note for note. Awesome and truly attentive full-band play informs great improvisational jamming which concludes in predictably great fashion. |
| 1995-11-29 | Nashville, TN | 15:27 | Almost two months removed from Shoreline's speedy "Reba," the band again takes flight, whipping through the composed section at warp speed. The ensuing jam, while metered, does not relent, with passionate, inspired Trey leading the way, while focused, full-band play is infused with great syncopation and rich melodic variation. |
| 1995-12-07 | Niagara Falls, NY | 14:23 | If 9/30 and 11/29 are fast, the Niagara "Reba" is faster. While the composed section suffers, the jam is crazy, relentless, rife with rich fills, crazy intensity, and the whacked sentiment of the set-opening "SOAM." This late second-set version sees Trey creating huge sustain which bleeds into a spacey, unusual outro. Really cool. |
| 1995-12-31 | New York, NY | 14:14 | NYE's huge "Reba" finds the band recovering from a botched composed section to create a classic. Measured and magisterial, Trey leads the band as they blaze from one side of harmony to the other, the musicians collectively working their way through starts and stops - and all points inbetween - to build a bliss-tinged climax. Wonderful. |
| 1996-08-10 | East Troy, WI | 15:07 | Excellent, wide-open, and groove-oriented jamming leaves all sorts of space for soloing, and Trey leads with beauty and grace, his phrasing measured and ripe with shimmery, summertime aplomb. Fish's accents are instrumental in creating a notable contrast, as the version coasts to a soaring, trill-filled peak. |
| 1996-08-14 | Hershey, PA | 13:56 | With the Clifford Ball looming, the band throws down a version suitable for any festival. Fast and frenetic, the band channels some inner-Fall 1995 and plays powerfully and without reservation, racing through the composed section to jam with added verve and tenacity. A signature moment from summer tour's surprise show. |
| 1996-08-17 | Plattsburgh, NY | 16:00 | Beautiful. As if so composed. Like grains of sand in some mystic mandala. And then perfectly arranged. |
| 1996-10-18 | Pittsburgh, PA | 14:10 | Fall 1996 is notable for any number of reasons, not the least of which is the treatment "Reba" receives. Here is a case in point, with the band exiting the composed section to work through a terrific passage of extended, improvisational calm. Of course Trey is great, but Page's playing is particularly on-point, his work on the baby grand inspired and assured, through a conclusion both frenetic and wholly controlled. |
| 1996-10-31 | Atlanta, GA | 13:58 | > "Prince Caspian," this fan-favorite and Halloween thriller features notable full-band play, but is wholly dominated by Trey. Forceful and pointed soloing bends, but doesn't break around 11:00, with Trey shaping his tone and Fish breaking down the beat. Huge guitar builds and swells until arriving smartly at the "note." |
| 1996-11-08 | Champaign, IL | 13:34 | Trouble in the composed section is quickly forgotten when the band begins the jam in atypical fashion, with incredibly cool playing from Fish offset by uncharacteristic - for the era - effects. Really cool. Stop / start playing becomes more direct, before Trey modifies his tone and the jam passes through a highly improvisational passage, notable for more marked syncopation. A false peak works to set up a fist-pumping relase. |
| 1996-11-24 | Portland, OR | 13:46 | Lightning fast composed section, brimming with extra temerity. Speedy play extends into the jam, only the band, collectively, dials the sound way down, which makes for an interesting sonic juxtaposition. Notable full-band play informs this fun, quirky version, as Trey's solo builds voluminously, and the others match his intensity. |
| 1996-12-01 | Los Angeles, CA | 15:44 | Extended, Trey-centric groove, featuring a wonderful theme, offset by scattershot playing, matched in equal measure by Fish. Really remarkable. Trey soon breaks to solo atop a passage of really cool and stately calm. Hushed and unhurried, Mike and Page offer wonderful accents as the band continues to probe and explore, expertly modulating intensity. Trey soon breaks free, his soloing extended and infused with amplified energy. |
| 1996-12-30 | Boston, MA | 12:43 | Trey employs a warm, "watery" tone, to play with focused precision and remarkable restraint. Truly notable support from Page creates more of an open and spacious canvas of sound (as opposed to "jam"), whose principal characteristics stem from an organic, natural vibe. The version floats evenly and easily for some time, before being shaped to a pointed, emphatic peak. |
| 1997-06-16 | London, England | 14:40 | > in from the rocking debut of "I Don't Care," the jam, here, offers a stark contrast. Trey works great, melodic soloing into a beautiful passage of quiet restraint, Page's fills matching the "Doc's" warm tone. Trey, via an impressive array of styles and ideas, slowly rebuilds intensity, and the band enters an unusual, somewhat funky jam, before arriving at a sudden conclusion. Cool version. |
| 1997-07-01 | Amsterdam, Netherlands | 17:08 | After an ugly composed section, the jam moves from a familiar, quiet sentiment to become both melodic and spacey, with great effects from Page offset by playing upon his acoustic. Trey solos thoughtfully and deliberately, the jam both driven and breezy, a great groove driven upwards towards a "Slave"-like build. |
| 1997-08-09 | East Troy, WI | 15:21 | This super, Summer '97 version received recognition when released via Live Bait Vol. 11. Trey ignites a bouncy, infectious groove, which, in time, morphs into more metered jamming. Mike's playing is particularly strong, offset by great percussion, which bleeds into a heightened breakdown, the band working through an effects-laden passage. A stunning bit of improvisational majesty. |
| 1998-07-16 | George, WA | 16:59 | Trey employs a silky, milky-whammy sort of effect, generating a really groovy, laid-back jam. Extremely fluid, extended, and atypical jamming features strong, rhythmic play from all, the version coasting, moving pleasantly upon its own kinetic energy, not quite building but rather dissolving to create a fantastic > into "FEFY." |
| 1998-10-15 | San Francisco, CA | 18:21 | The jam proceeds typically, with strong soloing from Trey and great Page. Around the 14:00 mark Trey calls an audible, and a dark, bizarre, and somewhat ominous jam develops. This descends into an atonal morass, before concluding with Trey > into "Character Zero." |
| 1998-10-29 | Los Angeles, CA | 20:41 | 1998 is an awesome year for "Reba," and this HUGE L.A. version is a principal reason why. After breezing along in typical fashion, Trey summons a series of chords, and the jam enters a darker, more ambient space. This morphs into an awesome, deconstructed segment that would be at home in the "Tower Jam," before slickly seguing into "Walk Away." |
| 1998-11-27 | Worcester, MA | 15:46 | Staccato Trey, groovy, multi-keyboard Page, a little "Manteca"-like jamming from 8:55 - 9:25, and even some "Fly Famous Mockingbird"-like riffing from 10:30 - 11:10 provide solid content. Adding Trey's blistering, rapid-fire playing at the peak easily put this solid '98 on the chart. |
| 1998-12-30 | New York, NY | 14:56 | Huge holiday version features extended "Manteca"-like playing (9:00), before Trey drops into familiar riffing. Super Fish propels the version, with Trey seemingly picking up "Manteca" again, before the band enters a great, full-band, mini-groove. Fluid and direct jamming builds to a false peak which dips to rise into playing warm with sustain and powerful trilling, before, surprisingly, drawing to a close, sans tomming. |
| 1999-07-13 | Mansfield, MA | 15:24 | Excellent version which ebbs and flows, swells and recedes, with Trey seemingly drawing heavily from a "Blue Bayou"-like melody (11:30). Mike alights upon a grooving bass line, which induces relaxed soloing, before Trey abruptly peels away and the jam assumes a darker sentiment. > to "Carini." |
| 1999-07-18 | Volney, NY | 17:04 | Concentrated, quiet, and introspective play emerges from the composed section. Mike and Fish maintain a steady beat, and Trey's delicate soloing is complimented by really great work from Page. Super bass and powerful piano underscore great guitar and percussion, the jam breaking free to become less groove-oriented and more euphoric. |
| 2000-07-06 | Toronto, Ontario, Canada | 19:33 | Huge show-opener featuring focused, pretty play, and the interesting sort of innovation associated with 2000 jamming. In lieu of pursuing a "peak," the band plays patiently, deft musicianship on full display, Trey in particular working through a number of ideas and really incredible effects (see: 14:28), culminating in great "strumming" which, later, he revisits note for note. |
| 2000-09-14 | Darien Center, NY | 13:27 | Trey breaks from a subdued, melodic groove, to enter a space within which dramatic sustain, coupled with a warped, almost melancholic tone, creates something like a sad, mournful, mood. A strange version, both powerful and restrained. |
| 2003-08-02 | Limestone, ME | 18:31 | An outstanding version for any era, the IT "Reba" towers above its peers from '03 - '04. Pulling away from typical "Reba" jamming at 8:45, the play breaks into warm-hearted major mode at 11:10 and continues for several minutes, before cleanly working its way back home to a spirited finale. |
| 2009-06-10 | Knoxville, TN | 12:41 | Excellent full-band play featuring quiet, expansive and contemplative work from Trey, whose warm tone is complimented in great part by Page. Mike and Fish modify the beat, and the musicians dial the jam down to an all but erasure of sound. Mike and Trey team to rebuild momentum, before Trey summons a few chords and, shaping his sound, directs the band into a passage of measured and progressive space. |
| 2010-10-19 | Augusta, ME | 15:51 | Awesome "Reba." Trey works atop a really cool beat, which, at times, seems to stop and then start, a special sort of space carved by Mike's bass. Excellent effects work to enhance the jam, as the band plays exceptionally well as one. Trey nudges the band into a spacey and protracted legroom, which the band explores with aplomb before Fish breaks for "Manteca." Super guitar brings this version to a close. |
| 2011-06-17 | Charlotte, NC | 11:47 | Pretty clean - and rather fast - playing through the composed section incites strong improvisation from Trey, who syncs up with Mike and Fish, who nicely modulate intensity. Great guitar - with Page painting bright fills - dominates a strong, patient, and highly musical build, with Trey trilling to a thrilling release. |
| 2011-07-03 | Watkins Glen, NY | 16:07 | Great Trey and Mike from the jump, the jamming soulful and melodic. Awesome Page accents characteristically strong Fish, as the jam morphs into extended "Dave's Energy Guide" teasing. The band then crafts an atypical, and totally welcome groove. A pretty powerful build seems to break convention, with the whistling section dissolving into goofy antics which bleed into the noise informing the > into "David Bowie." |
| 2013-07-12 | Wantagh, NY | 13:03 | Bizarre version. After swinging through the composed section, Trey augments his tone, and the pitch can easily be considered grating. But his playing remains distilled and deliberate, and, if nothing else, interesting. Any problems here, however, are offset by the others. Page is great. And Fish is a machine. But it is Mike who drives this version, his playing superb throughout, and, in spots, it seems as though he is running lead. |
| 2013-12-31 | New York, NY | 12:09 | Back on the bus, pretty, direct, and straightforward play makes this "Reba" a highlight of a career moment. As usual, Fish is great, shuffling through various tempos and rhythmic shifts. Mike bounces around the room, and Page is particularly on point, his play lilting and airy. Trey opts for patient, sweeping sustain, which opens space for sweet syncopation, before alighting upon a perfect series of cascading notes, measured trilling, and the "note." |
| 2014-07-04 | Saratoga Springs, NY | 13:06 | Precise, delicate, and moving, very pretty play informs subdued jamming, featuring notable full-band interaction. Trey deftly shapes his tone, and the version becomes somewhat hypnotic and enchanting, with the musicians responding one to another before driving the jam to an expansive, emphatic peak. |
| 2014-10-17 | Eugene, OR | 12:17 | Fish and Mike provide an incredibly mellow groove, atop which Trey and Page exchange ideas. Laid back, the music does morph, becoming dynamic as the band modulates intensity, with the jam becoming even fuller in sound and more melodious. Trey ignites a charge and the version builds to a nice peak. |
| 2015-07-31 | Atlanta, GA | 11:55 | Great late show "Reba" arrives via a sharp -> from "BOTT." A tight composed section leads to a strong jam, with super guitar matched in equal measure by on-point, full-band play. Unsurprisingly, then - yet surprisingly! - Trey manages to squeeze "Reba's" post-jam whistling into the ensuing "Gin," with Page's outright teasing a musical exclamation point upon this historic "couplet." |
| 2016-06-29 | Philadelphia, PA | 13:58 | No mere novelty, the band's incredibly slow take on the composed section (better heard than described) seems to dissolve as muscle memory takes over, the torpid pace impossible to sustain. This inspires several minutes of particularly soulful and melodic jamming, which, in fun Phish fashion, dissolves into an inane whistling section. |
| 2018-08-05 | Alpharetta, GA | 11:53 | Just a great version, with the band coasting through the composed section, creating, as their effect, that old-school unison. Entering the jam, Trey's play is focused and deliberate, his tone rich and warm, soaring atop a bedrock beat and striking a wide array of notes - these colored by Page's fills (first electric, then acoustic) - as Mike and Fish push the version to its build, with along-the-way Trey playfully stepping to his mic and "sing-songing" before Fish toms the jam to a perfunctory peak. |
| 2018-10-26 | Rosemont, IL | 13:59 | Airy grooves and sprite melodies create that quintessential sort of spirit, Mike's play on point and off-beat, driving an august sort of improvisation which, in time, Trey works to a truly impassioned conclusion. |
| 2021-10-29 | Las Vegas, NV | 14:13 | Like all things '21, "Reba" - here perfectly placed - has been touched by Trey's grace. Solid play breaks for a jam we haven't seen too often of late, a simple bit of riffing, or vamping, with Trey here or there adding notes atop a bedrock beat. Terrific. Perfectly paced, Trey's marvelous tone offset by Page's perfect fills, terrific Mike, and scattershot Phish, the band, even before the banter, drives to a nice peak. |
| 2023-04-15 | Seattle, WA | 13:01 | Really unique. One must (arguably) go back to the early days to find not a better version, but such markedly different improvisation. Near the 7:50 mark Mike drives the band towards direct, "compact" play...Trey, onboard, works through a series of licks - which he, himself, rhythmically offsets - while Fish and Page add pretty remarkable accents. True to such magnetic play, Trey wastes no time dialing in his shreddy, on-point peak; Fish, in step, quickly toms play to a close (his inspired drumming running through the "Bag it, Tag it," section). |
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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