Venue #9: Memorial Auditorium

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(Photo Credit: Matthew Thorson – Seven Days)

Address: 250 Main St, Burlington, VT

Shows at this venue: 11/14/85, 5/16/86

Notable song debuts: Dear Mrs. Reagan

Status: Still standing but barely. The building has been condemned and its future is unclear.

Can you visit it? You can walk around but you can’t go inside.

Memorial Auditorium was a crown jewel when it was built in 1927. It was a great community space for years hosting craft fairs, college basketball games, and concerts from Johnny Cash to Bruce Springsteen, Bob Marley to Metallica, and Primus to LCD Soundsystem. It was long believed that Phish never played the big room as they had exceeded the capacity of the room by the time they were playing arenas. The 1985 gig was definitely downstairs in the space currently known as 242 Main. However, the 1986 show has recently been discovered as an opening set for poet Allen Ginsberg. So, Phish may have played Burlington’s largest room after all. Some fans may remember Trey Anastasio Band’s excellent 2 night stand here in the the summer of 2003.

Venue #8: Finbar’s

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Address: 167 Main Street Burlington, VT (Corner of Church and Main)

Shows at this venue: 4/6/85, 5/7/85, 10/17/85, 9/10/86

Notable song debuts: I Am Hydrogen, Letter to Jimmy Page, Run Like an Antelope, Dave’s Energy Guide

Status: Still standing. Became Manhattan Pizza in 1993.

Can you visit it? Yeah. Great spot for a slice while hitting the bars of Burlington.

When I lived in Vermont, I used to stop into Manhattan Pizza for a quick bite roaming around Burlington. It was only recently that I found out Phish had once graced its tiny stage. Still a bright spot in Burlington’s changing bar scene, this place still has that old school feeling.

Venue #7: Hunt’s

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Address: 101 Main Street Burlington, VT

Shows at this venue: 3/2/85, 3/4/85, 4/19/85, 10/30/85, 2/3/86, 3/2/86, 4/1/86, 5/24/86, 9/3/86, 10/15/86, 1/19/87, 1/21/87, 9/2/87, 9/3/87, 10/14/87, 10/21/87, 11/18/87, 11/19/87

Notable song debuts: Harry Hood, Dog Log, You Enjoy Myself, Icculus, AC/DC Bag, Lushington, Sanity, Clod, I Didn’t Know, Dinner and a Movie

Status: Still standing. Original venue became Sha Na Na’s in the late 1980s. Fire gutted building in 2003. Renovated in 2014.

Can you visit it? Yeah. Upper part of building is lobby and pool for Hilton Garden Inn. Lower part is Vermont Comedy Club.

While everyone knows about Nectar’s, nobody knows about Hunt’s. Maybe it’s because it didn’t survive the 80s like Nectar’s but it is just as, if not more, important in Phish’s history. Take a look at that song list and you’ll see how important it was a space for Phish to grow. Hunt’s was also a marquee music venue for the city of Burlington during its 10 year run from 1977-87. Among those to grace its stage include B.B. King, Roy Orbison, Gregg Allman, Pat Metheny, Taj Mahal, and Jerry Lee Lewis. That Phish was able to take that same stage just years after forming speaks loudly to how much they had taken Burlington’s music scene and were quickly moving up.

Venue #6: Doolin’s

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Address: 159 Main Street Burlington, VT

Shows at this venue: 2/1/85, 2/15/85, 2/22/85, 2/25/85, 3/8/85, 3/16/85, 3/29/85

Notable song debuts: Mike’s Song, Alumni Blues, Sneakin’ Sally Thru The Alley

Status: Still standing.

Can you visit it? Yeah, it’s a sports bar and restaurant still.

Located just next to the Flynn Theatre, Doolin’s was Phish’s first steady bar gig, playing during happy hour. Not much is known outside 3 short set lists that survive but nonetheless, the legacy of Burlington’s Main Street in Phish’s career must include this spot, if only for being the birthplace of Mike’s Song.

Venue #5: Nectar’s (Upstairs) (aka Metronome)

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(Photo credit: Phish.com)

Address: 188 Main Street Burlington, VT

Shows at this venue: 12/1/84

Notable song debuts: Slave to the Traffic Light, Cities, Skippy the Wondermouse (early McGrupp), Fluffhead

Status: Still standing. Most likely renovated since Phish played there.

Can you visit it? Yeah. Buy tickets for an upcoming show at http://clubmetronome.com

I probably don’t need to go one too much about the importance of Nectar’s in Phish history. However, it is important to note that this show, one of the earliest bootlegs to circulate, didn’t happen in the main room downstairs. It happened upstairs in the space now known as Club Metronome. The 3rd gig billed as Phish, this show also marked the formal start of the band as many treasured tunes still in the Phish catalog came out of this show. First fan Amy Skelton recalls Phish playing many other shows upstairs at Nectar’s but this is the only one currently on record.

Phish fans will probably hate why I like 2016 so far…

WARNING: This piece is totally subjective and just some thoughts I decided to write down. I also have very little music theory education and therefore concepts may be more abstract. Feel free to send hate mail though.

Phish, to me, has always been the best jazz band on the planet since I learned about them in 1994 and probably historically since about 1989. Sure they rock out from time to time such as Character Zero or Cavern but the truth is Phish’s improvisation techniques are truly in the world of jazz. This makes how they operate different from the Grateful Dead, who were more in the bluegrass/Americana style of jamming, and Umphrey’s McGee, who are more in the progressive rock style of jamming. This is why people get into debates about which band was better, which is a horrible debate and shouldn’t exist because wach band has their own unique approach that are uncomparable. Some might the Dead’s more laid-back style better because there’s an easy living feeling to their jams. Umphrey’s pushes a little harder, making those who need a more “in your face” style, whcih leads some to think they’re better by being more aggressive in jams (especially if you gtew up during the recording industry’s loudness wars). Phish, with their history of playing jazz standards, feels little more rehearsed and calculated, especially now in their 30th year together. I’m not including the Holdsworth years for the sake of this piece because that won’t factor into band chemistry, important for this discussion. This feeling of hesitation, which was not present in their earlier years, has frustrated some fans into thinking that the band’s best days are behind them. In actuality, the best days are still right now. I’m gonna take a look at some things that suggest that.

Phish’s history of playing jazz begins, as far as the record goes, on April 15, 1986. Prior to that point, Phish had really been just playing the usual rock covers and Trey’s excellent early compositions but without the edge the songs have now. Early versions sound a little flat. The first jazz tune is short, only about a minute long, a cover of Miles Davis’ “All Blues” after Trey introduces them as the “Bob Dylan Band”, a fun juxtaposition of the band of a folk singer turned rock star playing a pre-rock era jazz standard from Miles’ 1959 album Kind of Blue. The timing of Phish’s first jazz cover is also interesting because it marks the the changeover from original member Jeff Holdsworth’s influences (The Dead and Allman Brothers) to new member Page McConnell’s influences (Bill Evans and Duke Ellington). Page talks about this transition and his influences if you track down a copy of his Goddard thesis “The Art of Improvisation”. It’s a fascinating read and I can e-mail you the text I have if you like. The transition is obviously not overnight but you can see it taking place in setlists from 4/15/86 onward, especially as Jeff leaves the band a month later on May 17, 1986. More jazz standards and jazzier Phish originals would follow. The whole tone of the band shifted in about 2 years and really created the Phish we all know and love today. Without Page McConnell, I don’t know if Phish would have evolved beyond bar/wedding band. There’s a reason where if I see any Phish tribute/cover band, I’m always drawn to the keyboards because you’re only as stong as your Page.

It was from this that Phish really began to incorporate jazz, maybe even more so than rock music in their most important period of development from 1988–1992, that transition from bars to theaters. It was also during this period, in two seasons Summer 1989 and Winter 1990–91, that Phish played gigs that were just jazz standards as the Johnny B. Fishman Jazz Ensemble with local horn players who would become the Giant Country Horns in 1991. Little is known about those gigs aside from mentions on Phish.com but it is believed they were nights were Phish would go in and not play originals but just play like any other jazz ensemble in Burlington, influenced by the jazz brunch at Sneakers, close to the band’s house in Winooski at the time. The Sneakers Jazz Band was amazing. They’ve reunited a few times and each time, I get really excited. I would go see them at the Discover Jazz festival and it was exciting to see them play as any headliner. Later, in middle school, I’d get to learn so much about jazz from their keyboard player Bruce Sklar that still resides with me this day. He told me that the only place to start is Kind of Blue, helped me learn Sonny Rollins’ “St. Thomas” after I worked on learning it by ear on the piano, and helped me try and get a fraction of the way into playing Charlie Parker’s complex bop. So, when I picked up a copy of Hoist and the swing of “Julius” hit me hard, there was something about Phish that just stood out against Pearl Jam, or Smashing Pumpkins, or Green Day, or the hundreds of other 90s bands I could have become a fan of and, for me, I think that was how big a part of jazz is to the Phish ethos.

So why is a jazz ear so important when listening to Phish and how does it mean that the band is really great in 2016, when to some they seem to not be jamming enough or playing too many songs? I think it boils down to a few points. The first and most important is type I jams ARE STILL JAMS. Jazz has an interesting history where there has always been improvisation, but two eras of improvisation. The first era of jazz improvisation is from its origins to about the mid-1960s. You could consider this Type I jazz, the song’s have a certain chord structure and the soloist plays over it. The second era begins in 1958 with the introduction of Ornette Coleman. His revolutionary breaking of the tradition song structures kicked open free jazz and soon it was all over with Sun Ra, John Coltrane, and Miles Davis joining in towards the later half of the 1960s. This would be considered Type II jazz in the Phish world. But there was a time when both forms exists, especially in the case of Miles Davis, whose seminal album Kind of Blue was begin released AFTER Ornette had already started to make an impression. Type I jazz still exists today. It didn’t have to die because of new forms of expression. It’s also still really hard to improvise over a set chord structure, especially as twisted as some of those important Type I jams are such as “Stash,” “Antelope”, and “Bowie, and even harder to jam on 30 years and many drugs later. They shouldn’t be ignored and, in fact, most likely require more intense listening to find the small quirks that make them so captivating. There’s probably things in there that only the 4 of them pick up on and enjoy and talk about if the backstage no talking rule has been revoked.

The second factor is time and I mean that in two different ways. The first way time is a factor is 30 years of playing is only going to accelerate communication. Phish doesn’t need 30 minutes to hit a great musical idea anymore. They’ve been at it so long, and especially now that they’re 7 years reunited that a 10 minute jam might have the musical ideas they want to express. Take the Portland Tweezer. It’s a great compact Type II jam. Trey hits an amazing musical idea at 5:50 and the jam takes off. They’re satisfied and move on. Sure, some out there might want another musical idea but does that mean it’s a terrible jam? I don’t think so. I’ve replayed it a bunch just on Trey’s ability to find that moment and capitalize. They can do that faster with how much better they are playing as a unit. It doesn’t take as long to punch out an idea. When you listen to jazz recordings, some of the time limit was length of a side but does that make Sonny Rollins’ solo on “St. Thomas” any less breathtaking? No, that’s a performer who is confident on his instrument, laying down a fantastic musical idea. It doesn’t need to be Rahsaan Roland Kirk playing two instruments for 20 minutes. That’s no less great but a little straining at time.

The other issue of time is they’re older. “Tube” is a fun funk tune but it’s chord progression at times doesn’t really allow the band to go out there much unless they force it. So many of those are just Trey funk rhythm wank half the time. It’s fun for dancing but not terrible interesting musically. Maybe they’d rather play “Tide Turns” and say something different to audiences because of where they are as people TODAY. Maybe they’ll catch a musical idea and take it for a walk like “Breath and Burning” at the Mann and may be not. That’s what’s great about improvisation music, anything is in play. Trey soloing on “Number Line” can be as breathtaking (to me at least) at any moment as minute 22 of “Tweezer”. That’s what’s fascination about any improvisation and not just Type I vs. Type II. It’s all improvisation and Phish’s jazz chops shine through to make most tunes captivating. Anyone can be stunned by a Type II jam. It’s almost too easy at this point. Go back and listen to some of the long jams from 2.0 for that evidence. So many times of just taking it long with no real beauty. I’d take a succinct new tune well played over that any day personally.

Also relating to time, Mike also said in an interview before tour began, “Expect the unexpected,” which is actually probably Phish’s modus operandi since they become a major label act in 1991. They released “Down with Disease” instead of the more radio friendly “Sample in a Jar” as the lead single off Hoist. They don’t release “Strange Design”. They made one video and didn’t have someone else direct. They play the most requested cover album in a half-sold show in Utah AFTER the big Halloween show. They play a set of new songs on Halloween. They play a sound effects album of new songs the following Halloween. Why should this be any different? Maybe next “Tweezer” or “Chalk Dust” will be de-songed like Fluffhead and there will be new jam vehicles or no type II at all, like it was way back when. That’s the beauty of Phish, throw your expectations out the window and you’ll find the joy. Maybe find a different band that is still new and trying to establish their presence in finding familiarity. Phish has already done that and might be just trying to keep moving and not going stale. Phish is still the best jazz band on the planet, even if they do a little more rock and roll today. It’s just having an understanding of going beyond looking for Type II jams that make it fun, for me at least and perhaps also to the band. Sure, there’s been bad nights a plenty but a rough night for Phish beats a band just going through the motions. Alright, I’m ready for everyone to shit on me now but thanks for reading.

Show #105: 5/21/1989 320 Spear St. Burlington, VT

If you’re a Phish fan, you probably dreamed about Phish playing your backyard. Shows like The Ranch in 1987 and this one here are why people have that dream. Phish played probably in more backyards than we’ll ever know about because less ability for tapers to show up and the loss of the Del Martin tapes. At least with this show, we have a street address so we know exactly where it took place. 320 Spear Street is located on the small strip of Spear Street between UVM’s Redstone Campus and their Paul Miller research center, which is a working dairy farm and equine facility. It’s proximity to campus made it an ideal spot to have a party and also lead to some interesting show banter as Phish knew many of the people at this party.

320 Spear Street as it appears today. Notice how narrow the roadway is, causing all the cards to be towed. Gig was in backyard facing Interstate 89.
320 Spear Street as it appears today. Notice how narrow the roadway is, causing all the cards to be towed. Gig was in backyard facing Interstate 89.

We join the show in progress with a very solid “Harry Hood”. This “Hood” is fairly typical of 1989 but reaches its usual enjoyable peak with solid fills from Page and wonderful trills from Trey. Some banter about changing monitor levels or positions ensues with Trey asking about too much piano. Still forming the sound in these early days. Trey joking introduces the band as “Phish, from Burlington, Vermont” with a chuckle after hearing it from Mike before launching into “Foam”. The “Foam” is rough around the edges, especially Trey who messes up his part enough to deliver an “Aw Fuck” (not the secret language signal but actual words) midway through the intro. The band recovers fairly solidly but still working out the kinks. The song finishes and Trey informs them it’s about Mike McKnight’s like apparently. Mike then announces that all the cars on the road are going to be towed and they there’s a parking lot down the street. The parking lot is most likely that at Gutterson Field House, the UVM hockey rink. Spear Street is very narrow but often travelled road connecting Burlington to South Burlington and Shelburne and used as a substitute for the congested Shelburne Road. So clearly the city would want the road clear at all times. Fish says that it reminds him of a song and Mike and Trey concur, leading to a sublime performance of “Contact”. The “Contact” has “jump on it, son!” quotes from Mike but I have no idea what brought that…maybe a Jerry Reed reference? Trey tries to get the kids to sing the ending part. “Now that we’ve scared the 4 little kids away,” the band introduces the next song as being one they wrote that afternoon about Molly’s life. Trey asks to wear the hat and she declines. Trey then introduces “She No Are No Nice Gal” and someone brings the band a wallet that was found. Trey mentions “This is the kind of wallet I like, no identification, just cash.” Trey asks the crowd to bound joyously as they reach the trampoline section. After this long banter, they finally go into the song which is just “Mike’s Song”. The “Mike’s” gets super crunchy especially the 2:50 mark where Trey unleashes the first real true showing of his ability to sustain. He holds the note for almost a full minute while the rest of the band takes the opportunity. Fishman hits crazy fills and Page throws around organ riffs like it’s Dollar Draft Night at What Ales You. Tight little jam that I recommend. The Molly theme continues in the groove as Trey says “I Am Hydrogen” was written about Molly’s lighter side. It’s very nicely played except Trey botches the last note. The “Weekapaug” features a lot of fireworks from Trey but not a lot of movement; a lot of notes but no real development. “Split Open and Melt” is dedicated to the pig coming up at Ian McLean’s party on May 28th. We’ll have a lot more about that show soon. The “Melt” is still in its infancy and is nowhere near the heights the tune will reach. Trey attempts a “Mission: Impssible” tease but it doesn’t develop. Mike gets pretty loose with the bass line but seems to get out of step with Fishman at times. Page is barely audible. It’s very sloppy still. Trey notes he broke a B string during the jam. He meant to call someone to bring another one but forgot. Trey’s tone changes as I think he borrows a guitar from Alex. Trey uses this new overdriven tone to pound out the only known version of Led Zeppelin’s “Dazed and Confused” by Phish. It’s half serious/half joking but still worth a listen. They definitely captured the feel of the original. Page makes the announcement that cars are now actually being towed and it’s worth the walk to see if your car is being towed and that’s longer to walk to the Getty station on North Avenue that the car’s will be towed to. No doubt since North Ave. is the other side of town. A fan asks Trey about Tom Waits and Trey responds that he loves Rain Dogs, saying Fish has the bell for “Gun Street Girl” allegedly Trey’s favorite song from the album. They don’t play it though, busting into “You Enjoy Myself”. The “YEM” is a solid effort with odd tone from Trey’s borrowed guitar. The short bass and drums section is fun with solid work by Mike. The vocal jam becomes Zenzile, referencing the poet Phish played with back in 1986 and then evolves into Blue Oyster Cult’s “Godzilla”. Trey’s tone seems to return to normal for the rest of the set, indicating that someone did run home and get Trey’s B string in time for “Ya Mar”. The rest of the set is pretty standard. Apparently we also miss guest vocals by Chris Kuroda on “Alumni Blues” and “Possum”. That would have been very fun to hear. All in all, a fun afternoon on Spear Street with Phish.