Jam Chart for the state of MO (59 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 1992-03-31 | Columbia, MO | 10:22 | Unusually long version for this time period. Although largely straightforward, the jam features some great stacatto plucking by Trey and great tension building. | |
| 1992-12-04 | St. Louis, MO | 11:48 | Mostly straightforward, but the jam has multiple sections, and with each, Trey alters the riff or jam style. Solid. | |
| 1993-04-14 | St. Louis, MO | 10:48 | "Stash" -> "Kung" -> "Stash." The jam is typically great Spring '93 stuff with exploration beyond the norm. Returns, seemingly to conclude, then heads out again for more exploration, winding up in the Land of "Kung." | |
| 1993-04-14 | St. Louis, MO | 3:27 | -> in from "Stash." Great combination, a tense, improvisational "Stash" paired with "Kung" in the middle, which includes "DEG" jamming. -> back to "Stash." | |
| 1993-04-14 | St. Louis, MO | 1:13 | -> in from "Kung" to conclude this excellent version of "Stash." | |
| 1993-04-14 | St. Louis, MO | 14:19 | Excellent jam segment -> to a "Spooky" sandwich. | |
| 1993-04-14 | St. Louis, MO | 1:00 | -> in from "YEM." A "Spooky" jam is sandwiched in this "YEM" jam. -> back to "YEM." | |
| 1993-04-14 | St. Louis, MO | 9:40 | -> in from "Spooky" as this excellent "YEM" jam continues. | |
| 1993-08-16 | St. Louis, MO | 12:37 | Several breakaway moments in this exploratory jam. When it's not moving beyond "Possum," the jam is wild, rocking and intense with incredible playing by Trey. Unusual and spontaneous ending with whistling. | |
| 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. | |
| 1993-08-16 | St. Louis, MO | 11:24 | Very improvisational version. Fish is the star here, varying the rhythmic structure several times during Page's solo, and during Trey's solo, which has moments of reggae-like sound, as well as a brief jazz-like swing. Then at 7:10, the band begins a silent jam which continues until 9:00. (NOTE that several versions from 1993 and 1994 include "silent jams" such this one. See 8/25/93, 8/28/93, 4/8/94, 5/12/94, 11/22/94 and 12/4/94 for examples that are also excellent versions). | |
| 1993-08-16 | St. Louis, MO | 11:48 | Superb exploratory playing. While it has neither the dissonance and chaotic jamming of many '94 versions, nor the psychological edginess of many '95s, the overall quality places this "SOAM" in good company among the best. | |
| 1993-08-16 | St. Louis, MO | 12:38 | A typically short, strong '93 1st jam moves on to some good improvisational play in the 2nd jam. This one hangs together musically pretty well despite a few signature August '93 oddities. The jam gets pretty sweet and rocking as it progresses, with a "Crossroads"-like vibe. | |
| 1993-08-16 | St. Louis, MO | 15:16 | Highly improvisational version including jams on "Gypsy Queen" (Santana) and "I Wish" (Stevie Wonder). | |
| 1994-11-22 | Columbia, MO | 6:08 | Intense but straightforward version which -> to an incredible and classic Fall '94 "Jam," labeled as "Columbia Jam" on Live Phish Vol. 18. | |
| 1994-11-22 | Columbia, MO | 22:08 | A MUST-HEAR incredible jam that -> in from "Funky Bitch." Very improvisational with multiple sections, it defies easy description except that it's classic Fall '94 jamming. -> "Yerushalayim Shel Zahav." | |
| 1994-11-22 | Columbia, MO | 2:04 | -> in from "Jam," an incredible and MUST-HEAR classic 1994 improvisational performance. This Hebrew folk song provides a fitting ending to this iconic jam. | |
| 1994-11-22 | Columbia, MO | 6:30 | Short but excellent version quickly exits the typical jam in favor of a rocking, blues-infused jam which -> to a crazed "BBFCFM." | |
| 1994-11-22 | Columbia, MO | 7:02 | -> in from "Runaway Jim." WILD version with extra screaming, silliness, profanity, and a bluegrass ending. | |
| 1994-11-22 | Columbia, MO | 12:46 | Played by audience request, the jam features an improvisational early section, a fantastic build up, and wonderful peak. | |
| 1994-11-23 | St. Louis, MO | 5:40 | Another strong Fall '94 version which -> "Mind Left Body Jam." | |
| 1994-11-23 | St. Louis, MO | 1:24 | -> in from "It's Ice" for a solid jam featuring the iconic descending chord riff. | |
| 1994-11-23 | St. Louis, MO | 2:26 | > in from "Mind Left Body Jam" to complete this "Ice." | |
| 1994-11-23 | St. Louis, MO | 20:00 | Some gorgeous, must-hear jams and "space." Just magnificent at times. "Power of Soul" tease. | |
| 1994-11-23 | St. Louis, MO | 1:42 | Spectacular version in every way -> to "Vibration Of Life" in the opening segment. | |
| 1994-11-23 | St. Louis, MO | 1:41 | -> in from the "YEM" opening segment. -> back to a fantastic "YEM." | |
| 1994-11-23 | St. Louis, MO | 24:02 | -> in from "Vibration Of Life" to return to this spectacular "YEM." | |
| 1995-06-13 | Maryland Heights, MO | 10:03 | Some great plucking and strumming by Trey. The band is so tight and locked on in this version. | |
| 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. | |
| 1995-10-19 | Kansas City, MO | 14:30 | A Page and Mike heavy 1st jam, in which Trey hangs very much in the background. In the 2nd jam, screeching play from Trey and B-3 fills from Page compliment the funky, rhythmic base. Then there's a 3rd jam of sorts at 9:50, which features Trey retaking the lead in a plucky and upbeat conclusion. | |
| 1995-10-19 | Kansas City, MO | 13:12 | The jam goes "Type II" midway through for several minutes of foreboding exploration, during which Fish really stands out. Unfinished with "Dreaming" and "Keyboard Army" teases. | |
| 1996-11-15 | St. Louis, MO | 13:12 | After a relatively brief (for this period) 1st jam, the 2nd begins with some early funk-infused playing. Around 8:20, the sentiment shifts to rocking, upbeat hose jamming, similar to several of the great "Simple" jams from Fall '96. An excellent rock-the-house jam. | |
| 1996-11-19 | Kansas City, MO | 7:12 | Trey rips it up and closes the FIRST set in a fiery fashion! | |
| 1996-11-19 | Kansas City, MO | 19:17 | A well played "Type I" jam morphs into a funky Page-led multiple keyboard show (with Trey on the mini percussion kit). At 16:10, Trey jumps back on guitar, leading a soaring jam which works back to "Gin" and -> to "Vibration of Life." | |
| 1996-11-19 | Kansas City, MO | 25:38 | "Groove is in the Heart" jam. | |
| 1997-08-06 | Maryland Heights, MO | 15:43 | Jam settles around 6:50 into some glorious melodic space, rebuilds around 10:00 with some nice blues licks, settles again, then morphs into a serious blues jam with a -> to "My Soul." | |
| 1997-08-06 | Maryland Heights, MO | 15:51 | Not way out there but has several sections that stretch beyond the typical structure, including a great "Makisupa" jam in the "Rocco" section with Page on theremin and Mike on a mini-drum. | |
| 1998-07-29 | Maryland Heights, MO | 23:15 | Superb, legendary "Gin." An inspired, melodic "Type I" jam mutates into a thrilling, pulsing, tension-filled electro-rock groove. Many fans rank this "Gin" at, or very near the very top of all Phish jams of all time. Enough said. | |
| 1998-07-29 | Maryland Heights, MO | 13:56 | Unlikely jam vehicle opens Set II. The jam breaks beyond the standard into swirling and rocking playing, before settling into ambient space with periodic "Buried Alive" licks. | |
| 1998-07-29 | Maryland Heights, MO | 10:00 | Excellent jam combining funk and ambience, making this version a good representation of the band's sound at this time. > to "Kung". | |
| 2009-06-16 | St. Louis, MO | 13:23 | Although the jam doesn't stray too far from the basic "Halley's" structure until the final few spacey minutes, it is nonetheless a good quality version that segues nicely to "Runaway Jim." | |
| 2012-08-22 | Kansas City, MO | 13:42 | A very good version that shifts back and forth between minor and major modes, creating tension between dark and bright. | |
| 2012-08-28 | St. Louis, MO | 9:01 | There's a second, pleasant jam segment after the customary ending, and a very smooth -> into "Frankie Says." | |
| 2012-08-28 | St. Louis, MO | 6:14 | Well crafted -> from "Frankie Says." Quality "Type I" version features all the members in top form. After the lyrical refrain, Fish loosens up the beat as Trey deploys syncopated loops, which -> to "Sand." | |
| 2012-08-28 | St. Louis, MO | 13:24 | A great exploratory version. Pushes the edges of "LxL" until about 7:30 when it breaks well beyond into an upbeat groove that builds intensity. Ultimately returns to "LxL" to finish and > to "Julius." | |
| 2015-08-05 | Kansas City, MO | 20:41 | The band seems content to keep the majority of this jam in a low key state of quieter musing. A few energy upticks along the way to an eventually rocking peak, but this is largely a settled, chill out jam without the now typical bliss section(s). | |
| 2019-06-11 | St. Louis, MO | 16:04 | At around 8:00, the jam shifts away from the typical into a pleasant major mode section. From there, a synth/keyobard-led section morphs into cool, groovy music with nice Page/Trey interplay. The energy builds becoming more rocking, until finally returning to "Stash" proper. | |
| 2019-06-11 | St. Louis, MO | 9:39 | After an appropriately funky opening, things relax a bit with Mike making his presence known melodically and Page supplying the now-ubiquitous samples of "The Final Hurrah" while Trey lays back. Later Trey reasserts himself with some striking soloing as the energy picks up towards the jam's conclusion. | |
| 2019-06-12 | St. Louis, MO | 11:34 | The longest "Loving Cup" to date is a clever - if not forced - nod to a Stanley Cup win for the St. Louis Blues minutes before this jam. A quiet bounce led by Page's piano and fast rotary tone from Trey explores quiet space at first. A rhythmic plinko jam follows, with Page on Wurlitzer and Fish's wood blocks providing occasional accent. At 7:15, Trey hints at a shift from minor to major key tonality, although the band winds back down into the patient rhythmic shuffle. Finally, at 8:45 Trey plays a few trills and Page switches to synthesizer, as a deserved - though again, if not forced - peak matches the elation of the city's first NHL championship. Whale call and twinkly Rhodes dominate the forefront of the peak, which winds down to > "Twist." | |
| 2019-06-12 | St. Louis, MO | 14:27 | What begins as a relaxed and conversational groove shifts noticeably after 5 minutes growing eventually into a rhythm section powered freight train as Trey's melodic lines thicken becoming path clearing guitar blasts that lead to peak and return. | |
| 2024-07-30 | St. Louis, MO | 10:25 | A sparkling, vital version which builds with great focus and energy, at times sounding more like "Roggae" than your typical "Ocelot". | |
| 2024-07-30 | St. Louis, MO | 16:01 | Extended take sets sail for "Type 2" waters, and cohesively shifts between melodic effects-based playing, hose-y major key rocking and finally a murky funk-rock section before shifting back to "Theme's" ending to close. Excellent. | |
| 2024-07-30 | St. Louis, MO | 9:07 | While arguably not as strong as 8/1/23 or 7/22/22 (Trey's tone feels a bit off, here), fans of this version should revisit play from 7/28/18 or "The Baker's Dozen." | |
| 2024-07-30 | St. Louis, MO | 39:48 | Another massive entry in the (almost) 40 min club spends ample time mining deep crevices, discovering diverse bits of melodic beauty, and exploring riff laden spaces, before Trey and the band finally lock onto an ecstatic progression that takes the band through a series of peaks so gorgeous and gratuitous, the stunned crowd responds with a full minute and a half of ravenous applause | |
| 2024-07-30 | St. Louis, MO | 12:21 | > from "Tweezer," Trey's sprite soloing splinters to sparkle before more by way of serious improv. Terrific full-band play atop perfect, almost unnoticeable effects patiently builds, the four in total control, to make of this musical triumvirate (Trey summons, by strumming a series of simple chords, a > for a truly moving "Piper") something like one movement. Incredible moment. | |
| 2024-07-30 | St. Louis, MO | 12:20 | -> from "Ether Edge", this version bounds along in familiar territory until a downshift at the midway point, after which the jam turns in a markedly different direction and quickly establishes a soulful, fully formed coda to take us home. | |
| 2024-07-31 | St. Louis, MO | 8:51 | > from "Bouncing". A fireball version of the song with a mini-breakdown jam at the beginning and loads of energy throughout. Trey is on fire the whole time. | |
| 2024-07-31 | St. Louis, MO | 22:20 | After transitioning away from the song, Pageâs grand piano gives the improvisation shape and direction as Trey responds leading the band through uplifting and thematic play that modulates across both delicate and thornier spaces. Listen for Mike's "Meowdulator" pedal and Trey's "Hanon exercises" to make appearances before returning to the song proper to close. | |
| 2024-07-31 | St. Louis, MO | 18:22 | > "Twist," a great, driving version which finds Trey (possibly) teasing "Holiday in Cambodia" after the ten-minute mark. Either way, dramatic, somewhat (pleasantly) droning play continues until, around 13:15, Trey strums - signals - a decisive shift, and play becomes more plucky, with more by way of sonic separation, before the jam bleeds out and > tease-driven "NMINML." |
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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