Jam Chart for the state of OR (77 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 1991-04-03 | Ashland, OR | 11:08 | Trey starts the jam in the low octave range, giving the jam an evil tone. As he works up the register, the tension ratchets up, and the trill section is a shred fest with Fish also going berserk. | |
| 1991-04-04 | Eugene, OR | 12:55 | An upward spiraling, malevolent jam, as demented as they get, eventually gives way to insane shredding by Big Red. | |
| 1991-10-10 | Eugene, OR | 5:36 | You can hear Trey say "Hey Fish, let's really rock it" right before they start this one. This is a classic with insanely nimble guitar playing, loads of shrill dissonance, and some mind bending, shrieking guitar effects. | |
| 1991-10-12 | Portland, OR | 4:31 | Artis the Spoonman as gueat artist. A very different "Brother" with Page taking the lead on organ, and some very cool percussion work from Fish and Artis the Spoonman on spoons. Trey is very restrained until the end when he cranks it up. | |
| 1992-04-22 | Eugene, OR | 7:02 | > "Harpua", a unique version loaded with tension and a particularly beautiful segment when Trey syncs with Mike (around 5:36) before spinning off into orbit. | |
| 1992-04-24 | Portland, OR | 10:24 | The first seriously exploratory version with rhythmic gyrations, unusual melody from Trey, and experimental playing. | |
| 1992-04-24 | Portland, OR | 9:05 | While the first section is another solid April '92 showing, the real meat here is the 2nd jam, which has unusually exploratory and improvisational play for this period, even jazzy sounding Mike and some carnival-like melodies from Page and Trey. | |
| 1992-04-24 | Portland, OR | 7:35 | An unusual vocal jam occurs alongside "On Broadway" teasing, followed by a rocking and intense jam, which is unfinished, and -> to "The Mango Song." | |
| 1992-04-24 | Portland, OR | 4:56 | What do you call it when the sick get sicker? | |
| 1993-03-30 | Eugene, OR | 14:21 | Spectacularly improvisational and MUST-HEAR . Takes "Stash" WELL beyond anything performed up to this date. Starts exploring right off the bat with an un-"Stash"-like groove, a brief "CYHMK" jam, and a power finish. | |
| 1993-03-30 | Eugene, OR | 06:24 | Excellent second-set-opening version. | |
| 1993-03-30 | Eugene, OR | 14:25 | Page leads the jam for awhile! | |
| 1993-03-30 | Eugene, OR | 8:36 | Great jam with an unusual rhythmic and swinging vibe gradually diminishes, then -> to the debut of "Psycho Killer" before -> back to "Weekapaug." | |
| 1993-03-30 | Eugene, OR | 3:11 | -> in from "Weekapaug." Debut of this Talking Heads classic is sandwiched in a strong "Weekapaug." -> back to "Weekapaug." | |
| 1993-03-30 | Eugene, OR | 3:30 | -> in from the debut of "Psycho Killer" to conclude yet another strong '93 "Weekapaug." | |
| 1993-04-01 | Portland, OR | 10:38 | Moves beyond "Stash" at about 7:00 for a good 2 minutes of exploration before returning. | |
| 1993-04-01 | Portland, OR | 14:10 | Very CYHMK-like jam for several measures. Smokes! | |
| 1993-08-26 | Portland, OR | 10:42 | Jam breaks into a great upbeat groove, settles into a quiet section, and rebuilds with great tension. Excellent. | |
| 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. | |
| 1993-08-26 | Portland, OR | 6:16 | A menacing outro jam with an accelerated tempo which sets the mood for the fantastic "Split Open And Melt" that follows. | |
| 1993-08-26 | Portland, OR | 14:20 | Incredible combination of improvisation and musicianship. Must-hear. Some August '93 jams are quirky. Not this one. Start to finish, it's gripping, creative, tension-filled, exploratory, and musically coherent. Simply Magnificent. | |
| 1993-08-26 | Portland, OR | 9:09 | This "Esther" features a fun and different sort of intro - which invites a really cool and shuffling sort of tempo - before great soloing and flashes of improvisational flair hint at what would come in 1994. | |
| 1993-08-26 | Portland, OR | 13:03 | Enchanting and nimble early section is gradually overtaken by power, ending in a fierce and extremely tight peak. | |
| 1993-08-26 | Portland, OR | 13:10 | Possibly the most deranged, sick, insane, and wild-ass version ever. AWESOME!!! | |
| 1993-08-26 | Portland, OR | 10:14 | A truly stellar Page solo (even for Leo) is absolutely matched by brilliant and shredding guitar playing by Trey. | |
| 1994-05-19 | Eugene, OR | 7:30 | Nice electrified outro jam. | |
| 1994-05-19 | Eugene, OR | 11:30 | High power jam that at moments borders on heavy metal rocking. A very intense version with a screaming end. | |
| 1994-05-23 | Portland, OR | 13:55 | Thrilling, intense, improvisational, and rocking power jam, followed by an extended "Rocco" section with whispering Trey: "Been you to have any cantaloupe?" | |
| 1994-05-23 | Portland, OR | 21:47 | VJ includes "Psycho Killer" quotes. | |
| 1994-12-01 | Salem, OR | 13:34 | Very good improvisational "SOAM" with a dark tone and an extended section of spine-tingling tension building. | |
| 1994-12-01 | Salem, OR | 22:23 | Crazy sandwich. An amazing "type II" version. "Norwegian Wood" tease. "BBFCFM," "NICU," "Makisupa." | |
| 1994-12-01 | Salem, OR | 3:42 | -> in from "Tweezer." First in a medley of songs which ultimately -> back to "Tweezer." | |
| 1994-12-01 | Salem, OR | 2:37 | -> in from "BBFCFM" as this medley of songs sandwiched by "Tweezer" continues. | |
| 1994-12-01 | Salem, OR | 5:45 | -> in from "Makisupa" as the "Tweezer" medley continues. | |
| 1994-12-01 | Salem, OR | 1:37 | -> in from "NICU" to complete this "Tweezer"-based medley of songs. -> to "JJLC." | |
| 1994-12-01 | Salem, OR | 11:08 | -> in from a monster "Tweezer." Trey brings the volume down to near zero early in the jam. Unusual ending with a > to "Harry Hood." | |
| 1995-10-05 | Portland, OR | 15:41 | A much more exploratory version than most Fall '95 "Bowies," which despite being very well played and intense, stick pretty close to the basic theme. | |
| 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. | |
| 1996-11-24 | Portland, OR | 12:21 | Crazy spaced out intro. Sigourney Weaver is floating around this version somewhere. Page stars. | |
| 1996-11-24 | Portland, OR | 22:20 | Strong jam. | |
| 1998-07-15 | Portland, OR | 8:51 | Classic "Type I" version that lets go of the funk, making way for some blues-inflected power jamming with great Page. | |
| 1998-07-15 | Portland, OR | 3:58 | Standard "Horn" -> to an incredible and classic '98 ambient jam. | |
| 1998-07-15 | Portland, OR | 6:19 | -> in from "Horn." A superb cerebral and lush, vintage '98 ambient jam uncorks itself on the back end of "Horn." | |
| 1998-07-15 | Portland, OR | 7:27 | Slightly extended jam with the beginnings of some exploration beyond the standard. | |
| 1998-07-15 | Portland, OR | 12:35 | In addition to a stretched out, well-played jam, this version has a nice ambient closing that segues -> to "Simple." | |
| 1998-07-15 | Portland, OR | 6:19 | "California Love" tease, "Manteca" theme. | |
| 1998-07-15 | Portland, OR | 1:52 | -> in from "Tweezer." "California Love" is sandwiched in the "Tweezer" jam. | |
| 1998-07-15 | Portland, OR | 7:17 | -> in from "California Love" to continue this "Tweezer." | |
| 1998-07-15 | Portland, OR | 11:22 | -> in from "Tweezer." An awesome jam develops that is unique, with great Fishman and Page on the B-3. Unfinished. | |
| 1998-07-15 | Portland, OR | 13:23 | Delicate, directed, and fantastic playing by Trey leads to a soaring peak. Mike and Page are great, too. | |
| 1998-07-15 | Portland, OR | 7:04 | Encore version has Trey leaning into a heavy power chord riffing extravaganza out of the initial "solo" section. The jam threatens to go even deeper before returning to the lyrics, but after "Can you still have fun?" Trey proceeds to unload a furious, rapid quiver of wah licks for a slightly extended fanfare. > "Tweezer Reprise." | |
| 1999-09-12 | Portland, OR | 18:33 | Light years distant from the rocking, improv-oriented versions of '93 - '95, this "Type I" version, played at a slightly slowed tempo, is just incredibly beautiful, blissful music with great Trey and Page. | |
| 1999-09-12 | Portland, OR | 29:42 | Colossal virtual reality train ride across the wind-swept moors of ninth century England diving into a vortex which dumps out into orbit around Saturn. [Departs a high energy "Ghost" at 14:00, breaking into a great bouncy groove which then become otherworldly and effects-laden, similar to the end of the 9/14/99 "Bag."] | |
| 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. | |
| 2014-10-17 | Eugene, OR | 6:26 | Debut. | |
| 2014-10-17 | Eugene, OR | 16:29 | Page takes the charge right out of the gate with some heavy clav work before dipping into a spacier jam. They build up into an eerie but up-tempo soundscape. Without reentering "Crosseyed" musically, Trey leads everyone back into a final vocal refrain while playing some absolutely crazy music underneath. | |
| 2015-07-21 | Bend, OR | 7:56 | Debut. It's clear the band couldn't wait to play "Blaze On", hinting at its improvisational prowess from the get-go during the first set of tour. | |
| 2015-07-21 | Bend, OR | 10:08 | Debut. The song sounds fully formed from the start. Nice > into "Weekapaug Groove." | |
| 2015-07-22 | Bend, OR | 9:35 | This version has a relaxed, feel-good vibe that's one part "Gin," one part "LxL," and four parts Phish. Eventually peaking in a strong manner, the closing adds appropriate punctuation. | |
| 2015-07-22 | Bend, OR | 9:23 | Page, with good backing from Trey, whips the crowd into an absolute frenzy. Then Trey is solid, but Page wins, hands down. | |
| 2015-07-22 | Bend, OR | 11:00 | Debut. Pretty and delicate play, with Fish offering a sturdy bridge by way of Marimba Lumina, beneath deliberate (and yet to be repeated) vocal harmonizing. A "Tweezer" cum "Help on the Way" outro showcases the composition's seemingly infinite potential. | |
| 2015-07-22 | Bend, OR | 8:12 | The jam makes a nice modulation to major mode where the band builds to a peak thanks to Trey's melodic playing. After shifting back to minor mode and revisiting the song proper, the jam mode shifts again and > to "Waves." Short but sweet. | |
| 2015-07-22 | Bend, OR | 11:29 | Patient, confident, wonderful type-I version with a sustained crest that recedes swiftly into space. | |
| 2015-07-22 | Bend, OR | 9:39 | This very cool, effects-laden version features Trey finding a theme of sorts in his solo (a series of riffs). Page responds in kind. And Trey trills. He modifies his tone. He bends notes. And he builds in some serious sustain. Mike does not deploy his drill, and this adds something extra to the outro. Must-hear. | |
| 2015-07-22 | Bend, OR | 6:20 | Trey's tone and chording give this solid version a slightly edgy, more rock-oriented feel than the typical "ballad" type version. Apprearing mid 2nd set before an excellent "Simple,", it's not so much a "breather" song as a rocking downshift before revving up for what followed. | |
| 2015-07-22 | Bend, OR | 13:46 | The typically joyful "Simple" jam makes a turn to the Dark Side, as Trey leads the band into a stark exploration with a somewhat Pink Floyd-like tone. Listen for Mike's approval bell. | |
| 2021-10-19 | Eugene, OR | 25:24 | Kicks off a fiery Eugene run in the 1 slot. Fish and Mike clobber the type 1 portion of the jam, allowing Page to springboard with gorgeous parallel octaves and Trey to add swathes of emotion courtesy of effects. At 9:30 the jam enters its first of numerous vignettes; shifting from airy and blissy to dark and effects-laden, the jam pushes through each scene before finally coalescing into a final Fish-driven groove. Unfinished > "Runaway Jim." | |
| 2021-10-19 | Eugene, OR | 15:29 | Moves out of the typical tightly-wound "Stash" jam into an upbeat and almost tropical groove, then moves into a stomping classic rock mode with some standout play from Fish and Trey really throwing out some tasty licks, before heading back home. | |
| 2021-10-19 | Eugene, OR | 14:32 | Up front, the jam winds to cerebral and introspective space as Mike's bass drives an ambient wash, until Mike decisively locks in to F and the rest of the band starts constructing a thick groove. Intense patience ensues as the band refrains from peaking but instead opts to let the jam bloom. Around 12:15, the effects get angular and electronic - almost dissonant - for 90 seconds until Trey "Twist"s the band back to the outro riff. | |
| 2021-10-19 | Eugene, OR | 13:32 | One big groove that doesn't do a whole lot until about the 9 minute mark when Trey starts to get after it. BUT THEN for the first time in the middle of the second refrain, a 3RD JAM emerges for the first time ever! A slow "Crosseyed and Painless" feel at first before shifting to a minimalist computer space groove. True 2001 exploration. | |
| 2021-10-20 | Eugene, OR | 12:49 | Significantly more accomplished than its short 12:45 time stamp would suggest. The jam shifts at 6:00 to D in various modes, then to F bliss at 7:45. This yields a smooth and linear growth to a predictable but satisfying peak around 11 minutes in. The final minute wrangles down to quiet and introspective space. | |
| 2021-10-20 | Eugene, OR | 15:42 | "Melt"'s late-career renaissance continues with this fantastic version from Eugene. The typical gnarled "Melt" jam gives way to an ethereal major-key jam about halfway through, with Page in particular doing some good work on both the electric piano and synths. Trey finds a new key and we get another superb jam segment, before the jam dies away into fuzzy nothingness. > into "End of Session". | |
| 2021-10-20 | Eugene, OR | 2:36 | The second airing of "End of Session" is the meat of this "Split Open and Melt" sandwich. | |
| 2021-10-20 | Eugene, OR | 2:01 | -> out of "End of Session" to complete the "Melt" sandwich. Maybe not the strongest ending to "Melt" ever played | |
| 2021-10-20 | Eugene, OR | 29:57 | Moves from a warm and hearty jamming zone into something darker and Mike-driven, then Trey hits on a really nice repeating riff as the playing gets sparser and more delicate. The band moves smoothly into "rock out, man" mode, then an absolutely wild disco groove emerges, eminently danceable and tinged with weirdness. A thirty minute jam that feels like fifteen, one of the many hallmarks of 2021. | |
| 2021-10-20 | Eugene, OR | 16:19 | > from "Lonely Trip". All four members of the band are locked in from the start; some really nifty and cool playing. At 12:00, the jam takes a serene, light turn which features some beautifully patient playing. Page and Trey enjoy some fun interplay. | |
| 2021-10-20 | Eugene, OR | 9:38 | The jam cultivates an initially understated yet ebullient space. Candy-coated, fleet-fingered play from Trey is supported by Page's nuanced comping and Fishman's passionately defined melodic drumming. This jam's defining "moment" then comes in the form of a cathartic, extended sustained note from Trey before breaking for an energized conclusion. |
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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