Archive for Trey

“Times Turns Elastic” Revisited

Posted in Uncategorized with tags , , , on March 25, 2009 by Mr.Miner
10.27.08 (M.Copeland)

10.27.08 Nashville (M.Copeland)

As many of you have heard, Trey will be releasing his orchestral collaboration with Don Hart, “Time Turns Elastic,” as an album on May 21st through his own Rubber Jungle Records.  A press-release from Red Light Management, reprinted yesterday on Glide, detailed the evolutionary process of the piece, and added the shining nugget of info that “Time Turns Elastic” will “come full circle when Phish performs it on the band’s upcoming summer tour, interpreting the piece as an epic rock song.”  Interestingly enough, that was the intention all along Trey explained.  “I was living in upstate New York when I started writing this little tune that just kept growing.  I initially thought it would be a Phish song, but after I sent a demo of it to Don, it just grew organically into an orchestral piece.”  Now we are talking!

10.27.08 Dress Rehearsal (M.Copeland)

10.27.08 Dress Rehearsal (M.Copeland)

Before summer tour starts in earnest, Trey will perform the east coast debut of “Time Turns Elastic” on May 21st with the Baltimore Symphony Orchestra.  This special evening focuses more on Trey, and less on the orchestra, than the Nashville unveiling in September where the orchestra played an opening set.  The rest of the show will be comprised of “classic Phish songs and solo Anastasio compositions.”  This will surely be a night to remember, but let’s now turn to the Phish.

When hearing this multi-faceted piece in Nashville, and then again when the acoustic demo surfaced, its potential as a Phish song struck me immediately.  With rich lyrical symbolism, powerful melodic themes, and an ethereal reflection on life- it seemed like a perfect fit for Phish.  Talk about a multi-part compositional epic- it’s been a while since we have seen something of this complexity and magnitude emerge from Trey.  Along with the band’s host of new songs, and forthcoming album, this summer looks to be full steam ahead, with little concern for the rear view mirror.

3.7.09 (M.Walters)

3.7.09 (M.Walters)

Knowing that Phish will be tackling such a challenging piece brings great hope for their future endeavors.  Placed in the context of their renewed commitment to composition, practice and being a well-oiled machine, the addition of “Time Turns Elastic” to their repertoire is wholly fitting.  While its complexity is congruent with their musical mission, the piece’s lyrical sensibility seems distinctly appropriate- time is what we make of it.  And as Phish-time now bends backwards and moves forwards at the same time, this piece is the ideal soundtrack.  Mature in feel and meaning, this will be  a latter-day Phish triumph once integrated into shows.  As we all prepare to return to life as we’ve love it, one of the lyrics resonates as particularly poignant:

And when it’s time the landslide
will free what froze inside
While all around the rocks collide
You finally see the lines
That point toward the light that never dies.

3.8.09 (P.Lucks)

3.8.09 (P.Lucks)

As we discover our initial late-summer ticket fate, moving back towards that undying light, one can only imagine the version of Phish we will see playing come Red Rocks, The Gorge, and SPAC- the possibilities are mind-blowing.  Off to a running start in Hampton, the band has infused the entire community with a child-like excitement for what is to come only two plus months away.  As events continue to unfold, the hype for the future will continue to grow until exploding at Jones Beach on June 4th.  And, hey, that’s only a mere 72 days away!

Listen to “Time Turns Elastic” Acoustic Demo now! < LINK (Roll over link, click play)

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RUMOR MILL:  FENWAY ANYWAY?

fenwayparkThis article from Boston Music Spotlight on March 23rd, continues to speculate about a Fenway opener on May 31st, right after Dave Matthews takes over Red Sox Nation for two nights.  They also mention the god-awful rumor of a Texas festival- let’s keep our fingers crossed on that one.  As anyone can tell you, Phish tour and Texas is like oil and water- despite the great music the band has produced in The Lone Star State.

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DOWNLOAD OF THE DAY:

8.7.96 Red Rocks < LINK

8.7.96 Red Rocks < TORRENT LINK

Phish 1996 (J.Richter)

Phish 1996 (J.Richter)

As we all lament or celebrate our Red Rocks situation today, on Phish Thoughts, we finish our cruise through the band’s 1996 four-night stand. Final night highlights are strewn throughout the second set, including a smoking “Runaway Jim” and a memorable “Colonel Forbin’s” narrative about the indigenous iguanas.  We can now only wait to see what the next four nights at Red Rocks have in store for us!

I: Punch You in the Eye, Sparkle, Stash, Ya Mar, Gumbo, Taste, Lawn Boy, 99 Years*, Ode to a Dream*, Doin’ My Time*

II: Runaway Jim**, Free, Colonel Forbin’s Ascent > Famous Mockingbird, Possum, Life on Mars?, You Enjoy Myself, Hello My Baby

E: Bouncing Around the Room, Golgi Apparatus

*First time played; with Tim O’Brien on mandolin, bouzouki, and lead vocals. O’Brian is a former member of Hot Rize  ***With “Gypsy Queen” jam

Source: Schoeps64V > Oade > 250 > DAP1 > D(1)

TAB > PHISH ?

Posted in Uncategorized with tags , , , on February 18, 2009 by Mr.Miner

2753470556_323b1c04b7As we approach our final stages of preparation for Phish 3.0, many readers have put out the practical request to review some of the new music we could hear from Trey’s new catalog come Hampton and beyond.  On his Classic TAB tour last October, he played many new songs that he and Tom Marshall had recently finished; and something tells me Trey and Tom didn’t sit down to write a bunch of tunes for Tony, Russ, and Ray to play!  If things are as they appear, Trey wrote most of this new material with Phish in mind.

Having played some of his new songs once, and others only a few times over his eight shows, it seemed that Trey was holding out on the most significant songs, waiting for his “other” band to chart their destinies.

Obviously, any TAB versions of these songs represent mere templates of what they could be.  What Phish will do with these pieces if, and when, they play them is a whole different story.  Here are ten selections we may hear come 3.0.

Backwards Down the Number Line

2752637457_502e1c88f3Debuted acoustically at Rothbury last summer, and played over the second half of Trey’s tour, this is the new song that all fans are familiar with.  The song’s poignant theme of old friends reuniting captures the tone of the moment in the Phish world.  With an uptempo rock-based jam and a lyrical reprise at the end, this song seems like the new-school “Down With Disease.”  Odds are favorable that we will hear this at Hampton, potentially opening one of the three second sets.

Light

2752637427_0dfa5e4516

“Light” is the song that *sounds* like Phish the most.  With sublime harmonies and melodies within a transcendent milieu for improvisation, this song seems specifically written for our favorite foursome.  With an ambient intro, reflective lyrics, and a soaring jam, this one brings shivers just imagining what Phish could do with it.  Trey only played this song once over his tour, most likely signaling its place in the Phish universe.  When they bust this one out, you will know- it will be one of the highlights of the show.  “Tweezer > Light,” anyone?

Greyhound Rising

A multi-faceted compositional beast, “Greyhound Rising” is another song that seems custom made for Phish.  Beginning with a gorgeous ballad-esque feel, the song progresses through wistful lyrical passages before moving into the distinctly different, and more grooving, second section.   The song then slides into a blues-based jam before eventually building back to the original lyrical melodies.  “Greyhound Rising” has a little of everything Phishy, and it is another that sounds like a perfect fit for the band.

Valentine

2744294710_757c96018aThis song was only brought out twice along Trey’s tour due to the improvisational limitations of TAB.  When this song first dropped in Brooklyn last summer, it was an immediate favorite with its soulful feel and unique lyrical path.  An inspiring piece of music, this one seemed to be stashed away for Phish after TAB’s third show; a guitar solo could only take it so far.  Add Mike, Page, and Fish to this tune, and you’ve got a Phish staple for years to come.  This song catches you immediately and draws you right into its flow.  This will fit in perfectly if Phish so chooses.

A Case of Ice and Snow

Trey included an acoustic version of this song on his solo album, Bar 17, but when he played it throughout his solo tour, the song took on a wholly different shape.  Reflecting on hard times gone by, the mellow and gorgeous song could give way to surreal soundscapes, something that was merely hinted at via TAB.  Again, this sounds very much like a Phish song, and it could be a tremendous addition deep in the second set- like how The Dead used “Morning Dew.”

Ruby Waves

508845899_e37b3b878dTrey only busted this song out once over his eight shows.  Representing the poppier side of his writing, this song could certainly fit in with Phish 3.0.  Boasting a smooth palatable groove and an uplifting chorus, this could turn out to be a latter-day Phish “single” with legitimate improvisational potential when played live.  This is a song that Phish could vibrantly enhance.

Burlap Sack & Pumps

Consistently introduced with the group of songs that Trey wrote with Tony and Russ, and that made the transition to Phish, it seemed that Trey was implying that this song would do the same.  A centerpiece of Trey’s October tour, this was rearranged for a four-piece, with Trey taking adopting the horn’s lead melodies from TAB’s big-band incarnation.  With two distinct jams, this “Burlap Sack & Pumps” could provide multiple launch pads for Phish.  Many feel that due to the song’s long TAB history, this one won’t be brought into Phish.  Yet, after hearing the psychedelic planes that this song traversed throughout Trey’s tour, I wouldn’t be making any wagers!

Let Me Lie

508836127_44cdb2be4eThis could be the next beautiful Phish ballad, though due to its incredibly autobiographical nature, I’m not sure it will make the jump.  Played extensively over TAB tour, this recovery-themed song seemed very appropriate for his solo comeback performances.  Though the song would definitely translate beautifully to Phish, whether they choose to include it is another story.

Spin

2986884805_0fc77b4ca7An older song off of Shine, this was also played a on GRAB tour a few years ago, so Mike already knows it.  Played twice over the recent TAB tour, “Spin” possesses an dark and open-ended ambient jam at the end that Phish could absolutely slaughter.  A reflection on Trey’s less-happy days, this one could also be too personal to bring to his “other” band.  If Phish does decide to play this- forget about it- the results will be huge.

Alaska

A straightforward, and somewhat comedic, blues song, Phish could adopt this for a diversity of feels.   This could work, bringing some dirty blues-based jamming into the mix.  As most fans seem to know the lyrics already, this one could be an underwhelming arena sing-along that morphs into improv.  Only time will tell.

DOWNLOAD THESE “TAB > PHISH?” SONGS NOW! < LINK


Time Turns Elastic

img_06031The second movement of Trey’s orchestral piece that he debuted with Orchestra Nashville in September surfaced as a solo acoustic demo on the Internet.  When listening to the acoustic piece, one can hear how this entire movement could translate into a latter day Phish epic.  With lyrics rich in imagery and diverse musical approaches, this “song” could develop into a masterpiece.

LISTEN TO TIME TURNS ELASTIC (ACOUSTIC) ^ LINK (Roll over and press play)

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ANDY GADIEL ON THE RADIO / WEB STREAM TONIGHT! – 8-10 pm

ph_headerGodfather of Phish Internet space, and good friend, Andy Gadiel, will be guest DJing a special “Phish Reunion Set” set tonight on KPFA’s “Dead to the World” radio show with David Gans on 94.1 FM in the Bay Area from 8-10pm.  Manning the DJ booth for two hours, you can be sure he will throw down a juicy playlist!  Regardless of where you live, be sure to tune in for what is sure to be a good time! Tune in to the broadcast at KPFA 94.1 FM in the Bay Area, kpfa.org or nugs.net online everywhere.

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DOWNLOAD OF THE DAY:

12.16.95 Olympic Center, Lake Placid, NY < LINK

Olympic Center, Lake Placid, NY

Olympic Center, Lake Placid, NY

This is the first of the final two nights of Fall ’95.  This would be show number 53 of 54, and Phish was clicking.  Two weeks away from their legendary New Years Run, these two nights in Lake Placid are revered in Phish history.  (The second show was posted a couple days ago.)

I: Buried Alive, AC/DC Bag, Fog That Surrounds, Ya Mar, The Sloth, The Divided Sky, Dog Faced Boy, Julius, Suzy Greenberg

II: Sample in a Jar, Reba, Scent of a Mule, Cavern, Mike’s Song > Simple > Weekapaug Groove, The Squirming Coil

E: Fire

The Ross Compressor

Posted in Uncategorized with tags , , on December 18, 2008 by Mr.Miner

rossRecently on Phantasy Tour there has been extensive discussion about Trey’s change in guitar tone from pre to post-hiatus.  The topic of debate has been an effects pedal called the “Ross Compressor,” a pedal that didn’t make the jump to ’03.  Compression of any guitar tone allows for a smoother, warmer, more colorful and even sound.  The Ross Compressor was used by Trey 100% of the time during Phish’s hey-dey, but not in the years of ’03 and ’04.  But Trey used the Ross differently than most guitarists use the pedal.  Instead of compressing his sound first and then sending the signal through the other effect pedals, Trey would set up his compressor at the end of his effects line, compressing his “total” sound.

So how does all this technical-talk translate to in what we hear?  The best way of differentiating Trey’s compressed and non-compressed are comparing pre and post hiatus jams.  His pre-hiatus compression gave him the signature warm and smooth tone that we all came to “know” as Trey.  His uncompressed tone sounds far dirtier and grungier with more of an edge to it.  Check out some of his recent TAB shows for illustrations of non-compressed playing.

PT’er “doopuy” was nice enough to record two guitar samples of his own– one using the Ross Compressor and one without it.  By listening to these two samples, you should be able to clearly understand the difference being discussed in Trey’s tone.  Check it out:

Example 1: Mango Song w/ Ross Compressor < Link

Example 2: Mango Song w/o Ross Compressor < Link

guitarInterestingly enough, there has been a “movement” on Phantasy Tour by “People For a Compressed Trey,” seeking to influence Big Red’s to return to his former tone.  Notoriously absent are strong opinions to the contrary.  Personally, I don’t think the two sounds are mutually exclusive.  By using both sounds, it would only make Trey’s playing more flexible in reaching different feels.  I would hate to see his disgustingly dirty and distorted tone of latter years be axed all together, because there are jams where there is nothing better.  His uncompressed evil, gritty tone has become part of his sound, and regardless of any fans’ movement, I doubt we will see a complete 180 degree turn come March.

Tom Marshall has been posting on Phantasy Tour and relayed these opinions to Trey.  Here is his follow-up post about their conversation:

Ok, I spent the last two days and last night in new York writing three cool songs with Red. In direct response to msharky’s request, I asked Trey what the deal is with this compressor stuff? I explained the PT threads requesting that he bring back the compressor. i asked, first of all, is it true — did you change your rig and eliminate the compressor?

Yes, is the short answer.

He was very surprised that I was asking him this, because I’m not really a “tech” guy…you know? I’m very appreciative of his amazing Languedocs, (he had a Languedoc bass with him too) and I like checking out his amps and pedals and toys, but I usually don’t dwell on it, not being a guitarist myself. I also don’t listen too much to old shows, and so the “tone change” was lost on me. I like writing new songs, and I don’t focus too much on the past.

I asked him to explain the Ross compressor, and why it’s gone.

(One caveat: I didn’t write this “interview” down or record it, but I suppose I should have, and I guess I or someone should try to do so and post it at some point, so forgive me if I get some stuff slightly wrong or miss something. Again, this isn’t the end of the issue as you’ll see later, so we can figure everything out eventually.)

First i must explain that he found it funny that I brought it up, because he had been thinking the EXACT SAME THING: Phish is coming back, maybe the Ross should also come back. He’s thinking of the Mesa and possibly the cabinets too — but he does like that little fender.

Basically, he used the compressor differently than people normally do — often people will place it early in the effects chain to smooth the sound going into the other effects. Trey did it backwards, and had the Ross last — AFTER his two tube screamers. The Ross was always on. Always. His signature Squirming Coil “playable sustain” was the result of full volume pedal and both screamers on and pumping that signal into the Ross.

Me: and so you got rid of it?

Trey: I started playing without it after Phish and found that I could get an “edgier” sound that I can’t get with it.

Me: so it’s gone? or just off?

Trey: gone

Me: forever?

Trey: no, I’ve been thinking of bringing it back for a while now…if i can find it!

Anyway — I think that’s the gist of our conversation. Be glad that perhaps you made a difference — he’s at least happy that people are asking about it.

trey_guitar_closeup1There you have it, from the horse’s mouth.  Apparently Trey has been thinking about his old compressed tone as well!  As a result of this discussion with Tom regarding Trey’s sound, and the knowledge that Trey doesn’t know the whereabouts of his Ross Compressor, PT has pooled money and has bought a new, engraved, compressor pedal for him.  Tom has agreed to deliver the present to the Jedi, himself.  It remains to be seen how much Trey will return to the use his Ross, if at all, but it’s good to know that as Phish plans their comeback, fans’ opinions are getting heard not only by each other, but by Trey as well.  What other band’s community can boast that?

What do you think about Trey’s compressed vs. uncompressed tone? Respond in Comments below!

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DOWNLOAD OF THE DAY:

12.29.96 The Spectrum, Philadelphia, PA < LINK

Press Photo

Press Photo

As the end of the year approaches, let’s dip in to some New Year’s Run material.  There have been several requests for this standout Spectrum show from ’96– certainly the best show of the run.  With a classic second set Phish-fest, everyone was amped on their way up to Boston to close out the year.  Really, the whole second set is a continuous highlight with stellar versions of “David Bowie” and “Bathtub Gin.”  Once the YEM turned into a rotation jam and they dropped “Harpua,” this one was nominated for Phish’s Hall of Fame.

I: Poor Heart, Caravan, Cavern, Taste, Guelah Papyrus, Train Song, Rift, Free, The Squirming Coil, La Grange

II: David Bowie, A Day in the Life, Bathtub Gin, Lizards, You Enjoy Myself* > Sixteen Candles** > Vocal Jam, Harpua*** > Champagne Supernova# > Harpua

E: Rocky Top

*With rotation jam. (First: Trey on drums, Fish on piano, Page on bass, and Mike on guitar. Then Fish switched to bass, Mike to piano, Page to guitar, and Trey continued on drums.) **Mike solo on piano. ***Story about everybody in town. Jimmy, Poster Nutbag, Harpua, etc., go to hell, where they all see the “Uber-Demon” (Tom Marshall). # Oasis cover, sung by Tom Marshall, the “Uber-Demon”.

Back Where He Belongs

Posted in Uncategorized with tags on October 16, 2008 by Mr.Miner

As people continue to stress about tickets and plan for Saturday, Trey is opening his eight show run at Roseland tonight.  Amidst the hype and excitement- now exponentially greater with ticket mania- this should be an adrenaline filled run for Trey and fans alike.  Simply knowing that madness is around the corner is enough to make these shows all the more significant and exciting.  To make sure everyone is in the loop with what is going on out there on the road, I’ll be bringing you post-show reports, and for most of the shows (not Roseland) will have crispy AUDs up by the morning with some highlights to listen to right on the site as you read the reviews!

Much anticipation is already focused on the fourth show of the tour, an appearance at Burlington’s Higher Ground.  By far the hardest ticket on the run, stubs went for upwards of $200 to get into this show in which the possibilities are endless.  The band apparently had a certain amount of tickets reserved for friends and family for this benefit for Trey’s Seven Below Arts Initiative.  Everything about this show screams something special.  Rumors of Phish surfacing for the second set have already swirled, though a full band performance seems somewhat unlikely.  You know Mike will probably sit in, as he is Higher Ground’s resident “sit-in”guest, and with Ray’s full keyboard set up on stage, Page could easily hop up on a whim.  Once three are up there, why not four?  In all likelihood, it will be a straight up Trey show, but just considering what might happen is enough to get the heart moving a little faster.

In addition to the highly anticipated Roseland opener, stops at Albany’s classic Palace Theatre, Boston’s Orpheum Theatre, and Richmond’s new swanky room, The National, provide shows to look forward to.  The explosion of cheers in Manhattan tomorrow night will be deafening, as the energy may exceed Trey’s comeback show in Brooklyn, because this now all means something a lot more to a lot of people.

8.7.08 Brooklyn

8.7.08 Brooklyn

With a possible New Year’s run or show, these eight nights maybe the last we see of Trey until he, with Phish, steps foot on stage in Hampton.  I highly doubt he will squeeze anything into January and February- hopefully those months are reserved for Phish’s practice sessions in the Barn, to hone their new and old material with the goal of coming back far sharper and more daring than last time.  Not only on the mind of fans, Trey has got to be thinking similarly as he embarks on his first and last tour between his personal comeback and his band’s comeback.

This is a celebratory time in the Phish universe.  Not since Miami ’03 has there been so much unbridled excitement in the scene.  While that June run of ’04 shows was amazing musically, there was an impending sense that “the end” was near.  Now, with nothing but more Phish in sight, the horizon is brighter than ever.  In an unexpected case of course-correction, the universe has delivered us back to our fields of collective joy.   After years lost on the mysterious Phish-less island, not knowing if we’d ever get home, the wheel has been turned, and we have been transported into a new existence, where possibilities are again endless.

While many are waiting for March to hop back on, Trey is taking whoever will come on a ten-day adventure through the Northeast, reacquainting himself, and all of us, to the wonders of being together again.  With little ability to predict what is in store for these eights crazy nights, the anticipation is on the rise.  Trey is ready, we are ready- lets’s go!

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TICKET UPDATE: So it seems that someone is thinking straight.  Ticket Master has now added “3-Day Packages” for Hampton, so that you can buy all three shows at once!  Again, most likely an attempt to shoo away one-ticket holders- you can be sure that if you get in, you WILL get all three shows.  This is also a double-edged sword, because now tickets will disappear in less than a split-second now, but at least those who are lucky enough to get tickets don’t have the awkward position of figuring out what to do with their one ticket for the third night.  Good luck folks, the people who hook it will be set!

DOWNLOAD OF THE DAY:

12.13.97 Pepsi Arena Albany, NY < LINK (single tracks)

Through the work of community member Paul Shapera Gwynne-Craig, we have a remastered copy of a classic show here.  The final show on one of Phish’s most beloved tours, this one has it all.  A first set that features a out of nowhere twenty minute Yamar opener, and a peak ’97 Tube prepared the audience for an all out raging second frame.  Combining standout versions of Ghost, Mike’s, Hood, and Weekapaug, this was the perfect show to wrap up a perfect tour.  Bring in the Dude!  Thanks, Paul!

I: Ya Mar, Axilla, Theme From the Bottom, Ginseng Sullivan, Strange Design, Sample in a Jar, Vultures, Tube, Good Times Bad Times

II: NICU, Punch You in the Eye, Ghost, Mike’s Song# > Llama, When the Circus Comes, Weekapaug Groove > Catapult > Weekapaug Groove, Harry Hood*

E: My Soul, The Squirming Coil

J. Willis Pratt and Weird Bionic opened. #During which the band chants, “Bring in the Dude!”, referring not to Steve Pollak but to Trey, as there was apparently a jovial dispute about who the real “Dude of Life” is. Fish calls on Mike to “bring in the Dude” and the band stops and lets Mike play a crazy, effect-laden bass solo. Then Trey asks Fish to let him “bring in the Dude”. Fishman lets him, and bands stops to let Trey play a wah-wah solo. Then Page “brings in the Dude” with the clavinet. Fish doesn’t “bring in the Dude”. *With lights off and a glow stick war.

Time Turns Elastic Download

Posted in Uncategorized with tags , on September 29, 2008 by Mr.Miner
9.27.08 - Nashville

9.27.08 - Nashville

Trey and Orchestra Nashville 9.27.08 (whole show) <<LINK

TIME TURNS ELASTIC REMASTER <<LINK

I. “XL” J. Mark Scearce, “Divided Sky,” “Concertino” Don Hart, “Orient and Occident” Arvo Part, “Le Tombeau de Couperin (prelude)” Maurice Ravel

II. Times Turns Elastic

Movement I: Magnets and Revolutions, Ruby Shaded Sea

Movement II: Submarine, In Long Lines, Violet, Violet, Summer Sound Shower, Splinters of Hail, Funnels, Carousel


In and Out of Focus

Posted in Uncategorized with tags , on September 29, 2008 by Mr.Miner

In and out of focus, time turns elastic

In and out of focus…

In and out of focus, time turns…

Music exists as a medium that mirrors the human experience; a way to evoke wordless feelings, a way to talk when language can no longer describe.  In the truest sense, this was the essence of Trey’s orchestral opus, Time Turns Elastic. Debuted in Nashville’s historic Ryman Auditorium on Saturday night, Trey’s autobiographical piece narrated the story of his past few years, while obliterating traditional boundaries of classical music.  Standing humbly, center stage with his Languedoc, Trey wove melodic and lyrical tales of his life within the rich musical tapestry of an avant garde orchestra.  Very much a part of the orchestra’s palate, rather than playing on top of it, this performance focused on the music as a work rather than someone playing guitar.

photo - Bill Kucinski

photo - Bill Kucinski

With an elegant program specifically designed around Times Turns Elastic, Orchestra Nashville played a first set of relevant orchestral pieces.  Opening with an introductory piece without Trey, director Paul Gambill, then then welcomed him to the stage for a breathtaking rendition of Divided Sky.  Playing in an incredibly delicate and understated fashion, he worked his way through the Phish classic that was presented as a straight piece of the program with no specific introduction.  He then sat in as part of “Concertino,” with a with group of two mandolin players, and played acoustic guitar while sitting in the back row as part of the orchestra- one of the most ego-less things Trey has ever done on stage.  The set featured two more symphonic pieces, the last, “Le Tombeau de Couperin,” a Ravel piece that greatly inspired Trey and influenced the opening movement of Time Turns Elastic, as Gambill explained. Yet, the evening was focused on the music after intermission.

Surprisingly subtle, and distinctly non-Phishy, Trey delicately played through the debut of his piece with a clear sense of deep emotion.  Yet, as we are accustomed to hearing Trey speak to us through his cosmic guitar fury, this time he had over 25 people to help him share his thoughts.  This changed the dynamic of the concert, a story was told collectively as opposed to his upcoming tour, which represents more of a monologue.  As life, Time Turns Elastic contained a distinct ebb and a flow to its emotional color, moving through playful and pensive, uplifting and somber segments.  Comprised of two movements, the first instrumental, and the second, complete with whimsical poetic verses, this performance was one of the most unique nights of Trey’s musical journey.  As lyrical segments emerged, lending a Broadway-eque feel, Trey sang delicately, using as his voice as yet another instrument to add to the symphonic whole; an instrument, interestingly enough, often more prominent than his guitar.  Staring into his magical space above, Trey shared his words in a gentler way, greatly divergent from his arena-rock norm.  Taking a complete 180 degree turn from a normal Trey-based event, the spotlight was less focused on him than ever, despite his stage positioning.

photo - Bill Kucinski

photo - Bill Kucinski

In and out of focus, time turns elastic

In and out of focus…

In and out of focus, time turns…

Sounding like the musical backdrop to a dream, Trey provided heartfelt accents and melodies to the music, as his notes seemed to float on the orchestra’s musical ocean, navigating the forty minute piece.  The second, and far longer movement, saw Trey layering his self-reflective symbolic poetry over the music, each part having its own name, though there was no break in the music.  Picking up momentum during the last segment, “Carousel,” Trey’s guitar became far more prominent and pronounced as the piece built to its final peak.

In and out of focus, time turns elastic

In and out of focus…

In and out of focus, time turns…

photo - Bill Kucinski

photo - Bill Kucinski

Though poetry can be interpreted in countless ways, being someone who wholeheartedly believes that Trey, despite his repertoire of side projects, is truly all about Phish, this is my take.  This consistent reprise of this verse, and accompanying melody, throughout the movement brought out the meaning of the tale.  From the time around Phish ended, he has moved in and out of focus, grappling with the various realities that have confronted him.  Yet, with every part of unfocused life will inevitably come the counterpart of living in a directed and intuitive way.  We become lost and then find ourselves again, and Trey has found himself again.  Time is what we make of it, often stretched and pulled to extremes, as life’s challenges and successes bring us on the universal roller coaster.  Through these times, he never lost sight of his heart; he never lost sight of Phish.

And when its time, the landslide

will free what froze inside

While all around the rocks collide

You finally see the lines

That point toward the light that

never dies

photo - Bill Kucinski

photo - Bill Kucinski

The landslide has come.  Time is thawing the frozen part of Trey’s life, the part that has always made him the happiest.  As he pondered his future throughout the past years, the light and hope of Phish, that would bring him back into focus once again, never died.  Like the sun of your soul, while it can get shaded, it can never be extinguished.  As we all anticipate the future of Phish, the future of our own musical journies, we can feel assured that Trey is right there with us and just as excited as we are.

And this life, it’s bending and

swelling around me

Turning and peeling into the

mist around me

And the winds all rising in the west

around me

And the carousel turns into

breath around me

In and out of focus, time turns

elastic

Time turns….

The final lyric of the piece suggests hope- hope that life again will turn another page and the winds will lift us back into the sky.  Breathing life into a once lifeless force, hope is bringing Phish back again.  Time turns; we turn too.  The light never dies.

TIME TURNS ELASTIC CLIPS

Clip #2

Clip # 3 (Unembeddable)

DIVIDED SKY

Trey @ Nashville FLACs

Trey Announces October Dates!!

Posted in Uncategorized with tags , on September 4, 2008 by Mr.Miner
Dino Perrucci

8.7.08 - photo: Dino Perrucci

The day has come where things are fully getting back into motion.  Trey has announced an eight show run, billed as the “Northern Exposure Tour,” covering ten nights in October.  For the tour, Trey is getting back to playing smaller venues and remaining largely in the northeast.  This format seems like a chance for Trey to get his tour legs back, with out pushing it and staying on the road for too long.  It may be these type of runs we see from Phish when they comeback- eight nights here and eight nights there.  Enough shows to satiate the masses, while few enough to remain sane, themselves.  The days of 20+ show tours have most likely passed us.  I’ll be the happiest one of all to admit I was wrong, but given the circumstances around their return- short and steady may be the way to win the race.  The tortoise beat the hare, right?

Simply the announcement of dates has breathed life into the entire community.  Texts flew wildly from coast to coast.  People posted all over message boards.  Hearts accelerated knowing it is all coming to fruition.  Great stuff, indeed, all on a sunny September afternoon.  With Mike’s tour raging, and Trey about to head out on the road, things are gradually moving back into alignment.  Just knowing  that Trey is about to tour- armed with an arsenal of new songs and a renewed enthusiasm for being on stage- is enough to make me jump out of my shoes.  Can you imagine the feeling next year when Phish.com had dates posted on their page?!  That will be the day.  It doesn’t matter when it happens, “the only rule is it begins.”

The first four-night run opens on October 16, at the Capitol Theatre in Portchester, NY- a classic Phish

8.7.08- photo Dino Perrucci

8.7.08- photo Dino Perrucci

venue that the band frequented in the early ’90s.  Then onto the Cheverolet Theatre, formerly known as the Oakdale Theatre in Wallingford, CT.  A relatively obscure stop that was played by Trey’s band in November of ’05.  Third up is the Palace Theatre in Albany.  A routine stop for both Phish and Trey, the ornate theatre will once again house Big Red in a show that is sure to be a highlight of the run.  Batting fourth, in the cleanup poistion, Classic TAB is going home- to Burlington, VT, and own turf of Higher Ground.  With a miniscule capacity of 550 people, this room certainly has Phishy past.  It was at Higher Ground that Trey played a one-time gig with the “8 Foot Fluorescent Tubes”- the first version of the Trey Band- back on April 17, 1998, less than two weeks after the Island Run.  Featuring Tony, Russ, Tom Lawson on guitar, and Heloise Williams on vocals, they debuted so many of the TAB and Phish songs we know and love on that night.  The band’s backyard club, strangely located in a strip mall, is a frequent stop on Trey’s solo tours.   Phish members always seem to pop up with other bands at Higher Ground, and I don’t see why this would be any exception.  Expect some sort of Phishy collaboration during this one

Trey- photo Niki Morris

Trey- photo Niki Morris

One day off.

The tour picks back up at Lupo’s in Providence, RI on the 21st.  A small club with a capacity of 2000, this one should be an intimate affair- though four times the size of Higher Ground!  Lupo’s is a classic New England club with lots of history, just none of it involving Phish.

One day off.

Moving on, we will head to the Orpheum Theatre in Boston, where Phish stopped in May of their legendary Spring ’92 tour that produced so many great analog tapes.  Sticking close to home, Trey will travel south to the neo-jam band mecca, the Electric Factory in Philadelphia, and play to a crowded-ass room before finishing off the eight nights by dipping into the Mid-Atlantic region at The National in Richmond, VA- a room I know nothing about.

All in all, the run looks like something that will remind Trey of the wonders of being on the road- the good wonders.  Invigorated to play guitar, and with fans foaming at the mouth to see him, this combination will make for an excessively exciting ten days of October.  To describe the feeling that will swell in these undersized clubs and theaters, I look to a famous quote from a wise sage- the late WWF star and broadcaster, Gorilla Monsoon. “The intensity is so thick in here, you could cut it with a knife!”  Stay tuned people- it’s all just beginning!

10/16 Capitol Theatre, Port Chester, NY

10/17 Cheverolet Theatre, Wallingford, CT

10/18 Palace Theatre, Albany, NY

10/19 Higher Ground, Burlington, VT

10/21 Lupo’s, Providence RI

10/23 Orpheum Theatre, Boston, MA

10/24 Electric Factory, Philadelphia, PA

10/25 The National, Richmond, VA

photos: Dino Perrucci , Niki Morris

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DOWNLOAD OF THE DAY: 11.30.95 Nutter Center Dayton, OH

A day before December ’95 got underway, Phish threw down a classic in Dayton, OH.  This is the true OG Nutter Center show.  Dayton ’97 step off!  Seriously- it was because of this show- and the insane Tweezer > Makisupa > Antelope- that so many fans were so psyched for Nutter ’97.  On this very Phishy day of 11.30, Phish’s 1995 installment was as hot as ever.  Getting towards the end of a long fall tour, Phish could see the home stretch and were heading for the ribbon.  The last show before the epic December, this one proves that November wasn’t all that different.  Download and listen- this one is sure to please.

I: Sample in a Jar, The Curtain, Ha Ha Ha, Julius, NICU, Bathtub Gin, Rift, Fast Enough for You, Lizards, Fire

II: Cars Trucks Buses, Tweezer> Makisupa Policeman> Run Like an Antelope, Scent of a Mule, Free, Strange Design, Amazing Grace

E: Harry Hood