DOCSLIB.ORG

Phish So This Episode Is Definitely Going to Be My Most

Total Page：16

File Type：pdf, Size：1020Kb

Download full-text PDF Read full-text
Phish So This Episode Is Definitely Going to Be My Most Phish So this episode is definitely going to be my most contemporary considering the band Phish exists still, and as a result of that my notes are going to be less focused on the history of the band Phish and more of an examination of the Jam Band Phenomena/Movement in general. The reason this is going to be titled the Phishcast, however, is that my guest, Charlie Kirby, is himself a big fan of the band. He has seen Phish a number of times with the most recent being about a week and a half ago, am I correct? -- --Would you like to talk for a minute or two about your personal history with the band? --And while we’re on the subject of Phish history, have you looked into the band’s past or are you more just riding the wave so to speak? Well I have a little bit of band history I can read off, but for longtime fans of the show I want to note that this is more or less the only part of the show that I’m using Wikipedia as a source, for better or for worse, so here we go: The band was formed at the University of Vermont in 1983 by Trey Anastasio, Mike Gordon, Jon Fishman, and Jeff Holdsworth, joined by Page McConnell in 1985. In 1986 Holdsworth left and the 4 remaining men (Anastasio, Gordon, Fishman, and McConnell) are still the members of Phish to this day. The band first started when Trey Anastasio heard Jon Fishman playing drums in their dorm and asked if he and Holdsworth could come jam with him. Gordon, however, answered an ad they put out for a bassist but apparently he also loved to jam so it worked out. They started off playing covers at shows at their college but only had a few before Trey got suspended from UVM following a prank he pulled on a friend which I will read about from “Phish: The Biography” now, (https://books.google.com/books?id=eXD8AgAAQBAJ&lpg=PP1&dq=phish&pg=PA25# ​ v=onepage&q&f=false) ​ Trey then went home to Princeton, New Jersey where he formed a songwriting partnership with his childhood friend Tom Marshall, which would according to Wikipedia, over time produce most of Phish’s original compositions. Once he came back to UVM he began performing with the boys again and they would come to call themselves Phish, after drummer Jon Fishman and (Charlie may have to verify this) the pshhhhh sound of a brush on a snare drum. Phish would soon take on McConnell after he did a few guest stints and learned the ways of the band from Gordon. They played for about a year as a quintet before Holdsworth had a religious conversion and quit the band, making the familiar lineup we have today. Honestly thats all I really want to get into as far as the hard history of the band, I more want to discuss with you the cultural side of Phish and what impacts they have made on live musical performance as well as just general creation of an identity and lifestyle that extends beyond the music. So Phish is a jam band. I personally do not really have a huge affinity for the genre but I am not vain enough to think my tastes really matter in the grand scheme of things. Jam bands and bands of people jamming have and always will be entertaining to people if only because it is an expression of musicality that is different than a prepared or planned piece of music. You get to see experimentation and change that you can get with non-jam bands, but with these bands that is the central tenant. There’s a sense of chaos and confusion inherent in a jam performance and, correct me if I’m wrong Charlie, but the same could be said for the crowd at such shows. Phish shows are notorious for being a “free-spirited” environment in terms of drug use and social norms. People are invited to do whatever they want to do, free of judgement and I can only assume in most cases supplied with ample support. This kind of setting can be very liberating to people who live otherwise conventional lives and if you don’t mind. I’d like to ask you a little about the people you’ve met or know from your experiences with Phish shows: --What would you say the average age is at a Phish concert? --Are there a lot of people from office type/inside jobs or is it more of a blue-collar affair? One of the most interesting things I’ve learned about Phish from you, and this is something we’ve talked about before, but its their streaming service. The idea that there are fans of literally anyone so dedicated to the band that they want access to high quality recordings of all their live performances which can easily last for hours truly blows my mind. That being said I don’t really go to a whole lot of live shows anyway and I especially don’t really like recordings of live shows so maybe I will never truly understand but it just seems to me a bit redundant. I do know of people who are musicians themselves that really enjoy watching a live performance in order to see what musicians are actually capable of doing in real life as opposed to on a recording; and I will admit that especially with jam bands the stamina and energy on these performers is truly incredible. A quick story about this, I have a close acquaintance from high school who you may know, Sam Carrico, but his name isn’t important. What is important is that every time you were hanging out with him and he had access to youtube he would start playing videos of the band Primus and probably a few Phish vids here and there but I don’t really recall. To be honest I still don’t understand it and like I said I maybe never will, but I will say on Phish’s part, its a great business model. --Are you a member of Livephish+? --Do you like other jam bands or is Phish your one and only? --Do you have anything else you would like to say to the audience about Phish? Normally I would have my guest go off on a tangent about something they want to talk about but I didn’t really know if you’d have like 10 minutes of words about Phish so I didn’t build that into the show, sorry. .
Load more

Recommended publications
  • September 1995
    Features CARL ALLEN Supreme sideman? Prolific producer? Marketing maven? Whether backing greats like Freddie Hubbard and Jackie McLean with unstoppable imagination, or writing, performing, and producing his own eclectic music, or tackling the business side of music, Carl Allen refuses to be tied down. • Ken Micallef JON "FISH" FISHMAN Getting a handle on the slippery style of Phish may be an exercise in futility, but that hasn't kept millions of fans across the country from being hooked. Drummer Jon Fishman navigates the band's unpre- dictable musical waters by blending ancient drum- ming wisdom with unique and personal exercises. • William F. Miller ALVINO BENNETT Have groove, will travel...a lot. LTD, Kenny Loggins, Stevie Wonder, Chaka Khan, Sheena Easton, Bryan Ferry—these are but a few of the artists who have gladly exploited Alvino Bennett's rock-solid feel. • Robyn Flans LOSING YOUR GIG AND BOUNCING BACK We drummers generally avoid the topic of being fired, but maybe hiding from the ax conceals its potentially positive aspects. Discover how the former drummers of Pearl Jam, Slayer, Counting Crows, and others transcended the pain and found freedom in a pink slip. • Matt Peiken Volume 19, Number 8 Cover photo by Ebet Roberts Columns EDUCATION NEWS EQUIPMENT 100 ROCK 'N' 10 UPDATE 24 NEW AND JAZZ CLINIC Terry Bozzio, the Captain NOTABLE Rhythmic Transposition & Tenille's Kevin Winard, BY PAUL DELONG Bob Gatzen, Krupa tribute 30 PRODUCT drummer Jack Platt, CLOSE-UP plus News 102 LATIN Starclassic Drumkit SYMPOSIUM 144 INDUSTRY BY RICK
    [Show full text]
  • 40 Steve Gadd Master: the Urgency of Now
    DRIVE Machined Chain Drive + Machined Direct Drive Pedals The drive to engineer the optimal drive system. mfg Geometry, fulcrum and motion become one. Direct Drive or Chain Drive, always The Drummer’s Choice®. U.S.A. www.DWDRUMS.COM/hardware/dwmfg/ 12 ©2017Modern DRUM Drummer WORKSHOP, June INC. ALL2014 RIGHTS RESERVED. ROLAND HYBRID EXPERIENCE RT-30H TM-2 Single Trigger Trigger Module BT-1 Bar Trigger RT-30HR Dual Trigger RT-30K Learn more at: Kick Trigger www.RolandUS.com/Hybrid EXPERIENCE HYBRID DRUMMING AT THESE LOCATIONS BANANAS AT LARGE RUPP’S DRUMS WASHINGTON MUSIC CENTER SAM ASH CARLE PLACE CYMBAL FUSION 1504 4th St., San Rafael, CA 2045 S. Holly St., Denver, CO 11151 Veirs Mill Rd., Wheaton, MD 385 Old Country Rd., Carle Place, NY 5829 W. Sam Houston Pkwy. N. BENTLEY’S DRUM SHOP GUITAR CENTER HALLENDALE THE DRUM SHOP COLUMBUS PRO PERCUSSION #401, Houston, TX 4477 N. Blackstone Ave., Fresno, CA 1101 W. Hallandale Beach Blvd., 965 Forest Ave., Portland, ME 5052 N. High St., Columbus, OH MURPHY’S MUSIC GELB MUSIC Hallandale, FL ALTO MUSIC RHYTHM TRADERS 940 W. Airport Fwy., Irving, TX 722 El Camino Real, Redwood City, CA VIC’S DRUM SHOP 1676 Route 9, Wappingers Falls, NY 3904 N.E. Martin Luther King Jr. SALT CITY DRUMS GUITAR CENTER SAN DIEGO 345 N. Loomis St. Chicago, IL GUITAR CENTER UNION SQUARE Blvd., Portland, OR 5967 S. State St., Salt Lake City, UT 8825 Murray Dr., La Mesa, CA SWEETWATER 25 W. 14th St., Manhattan, NY DALE’S DRUM SHOP ADVANCE MUSIC CENTER SAM ASH HOLLYWOOD DRUM SHOP 5501 U.S.
    [Show full text]
  • John Zorn Artax David Cross Gourds + More J Discorder
    John zorn artax david cross gourds + more J DiSCORDER Arrax by Natalie Vermeer p. 13 David Cross by Chris Eng p. 14 Gourds by Val Cormier p.l 5 John Zorn by Nou Dadoun p. 16 Hip Hop Migration by Shawn Condon p. 19 Parallela Tuesdays by Steve DiPo p.20 Colin the Mole by Tobias V p.21 Music Sucks p& Over My Shoulder p.7 Riff Raff p.8 RadioFree Press p.9 Road Worn and Weary p.9 Bucking Fullshit p.10 Panarticon p.10 Under Review p^2 Real Live Action p24 Charts pJ27 On the Dial p.28 Kickaround p.29 Datebook p!30 Yeah, it's pink. Pink and blue.You got a problem with that? Andrea Nunes made it and she drew it all pretty, so if you have a problem with that then you just come on over and we'll show you some more of her artwork until you agree that it kicks ass, sucka. © "DiSCORDER" 2002 by the Student Radio Society of the Un versify of British Columbia. All rights reserved. Circulation 17,500. Subscriptions, payable in advance to Canadian residents are $15 for one year, to residents of the USA are $15 US; $24 CDN ilsewhere. Single copies are $2 (to cover postage, of course). Please make cheques or money ordei payable to DiSCORDER Magazine, DEADLINES: Copy deadline for the December issue is Noven ber 13th. Ad space is available until November 27th and can be booked by calling Steve at 604.822 3017 ext. 3. Our rates are available upon request.
    [Show full text]
  • Snarky Puppy Snarky Puppy Snarky Puppy
    SNARKY PUPPY GENRE: ELECTRIC JAZZ/FUNK/INSTRUMENTAL Displaying a rare and delicate mixture of sophisticated composition, harmony and improvisation, Fusion-influenced jam band Snarky Puppy make exploratory jazz, rock, and funk. Formed in Denton, Texas in 2004, Snarky Puppy feature a wide-ranging group of nearly 40 musicians known affectionately as “The Fam,” centered around bassist, composer and bandleader Michael League. Comparable Artists: Medeski, Martin & Wood, Brad Mehldau, Weather Report, Steely Dan AWARDS • 2014 Grammy winner for “Best R&B Performance” • Voted “Best Jazz Group” in Downbeat’s 2015 Reader’s Poll/Cover of February 2016 issue •“Best New Artist” and “Best Electric/Jazz-Rock/Contemporary Group/Artist” in Jazz Times 2014 Reader’s Poll PRESS • “Emotionally heroic compositions…At the heart of Snarky Puppy’s music lies an incredible humanity,…a soulful appeal for fans of all ages” – Electronic Musician • “This 12-piece collective stands out with furious commitment to defying musical categories. The music is no joke.” – LA Times • Featured in the New York Times, NPR, Los Angeles Times, Washington Post, Relix, SF Weekly, Modern Drummer, and more TOUR • Played over 300 performances over the last two years on four continents • Snarky Puppy are devoted to music education holding clinics and workshops with students in-between international tourdates PEAK PERFORMANCE • Their last album, Sylva, garnered a #1-chart debut simultaneously on both Billboard’s Jazz and Heatseekers Charts • Snarky Puppy streaming music fans are primarily paid/premium subscribers to services such as Spotify, Google Play and Apple Music and listen on desktop and mobile devices (49%/51% split) • All of Snarky Puppy’s albums are recorded 100% live often with in-studio audiences present DEMO Male (82%)/Female (18%) Age: 18-34 (73%) http://www.impulse-label.com/ LINKS OFFICIAL WEBSITE 222,852 fans 30.8K followers 62.8K followers 28K 91K (Snarky Puppy) (GroundUP Music).
    [Show full text]
  • The Evolution of Ornette Coleman's Music And
    DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY by Nathan A. Frink B.A. Nazareth College of Rochester, 2009 M.A. University of Pittsburgh, 2012 Submitted to the Graduate Faculty of The Kenneth P. Dietrich School of Arts and Sciences in partial fulfillment of the requirements for the degree of Doctor of Philosophy University of Pittsburgh 2016 UNIVERSITY OF PITTSBURGH THE KENNETH P. DIETRICH SCHOOL OF ARTS AND SCIENCES This dissertation was presented by Nathan A. Frink It was defended on November 16, 2015 and approved by Lawrence Glasco, PhD, Professor, History Adriana Helbig, PhD, Associate Professor, Music Matthew Rosenblum, PhD, Professor, Music Dissertation Advisor: Eric Moe, PhD, Professor, Music ii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Copyright © by Nathan A. Frink 2016 iii DANCING IN HIS HEAD: THE EVOLUTION OF ORNETTE COLEMAN’S MUSIC AND COMPOSITIONAL PHILOSOPHY Nathan A. Frink, PhD University of Pittsburgh, 2016 Ornette Coleman (1930-2015) is frequently referred to as not only a great visionary in jazz music but as also the father of the jazz avant-garde movement. As such, his work has been a topic of discussion for nearly five decades among jazz theorists, musicians, scholars and aficionados. While this music was once controversial and divisive, it eventually found a wealth of supporters within the artistic community and has been incorporated into the jazz narrative and canon. Coleman’s musical practices found their greatest acceptance among the following generations of improvisers who embraced the message of “free jazz” as a natural evolution in style.
    [Show full text]
  • French Stewardship of Jazz: the Case of France Musique and France Culture
    ABSTRACT Title: FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE Roscoe Seldon Suddarth, Master of Arts, 2008 Directed By: Richard G. King, Associate Professor, Musicology, School of Music The French treat jazz as “high art,” as their state radio stations France Musique and France Culture demonstrate. Jazz came to France in World War I with the US army, and became fashionable in the 1920s—treated as exotic African- American folklore. However, when France developed its own jazz players, notably Django Reinhardt and Stéphane Grappelli, jazz became accepted as a universal art. Two well-born Frenchmen, Hugues Panassié and Charles Delaunay, embraced jazz and propagated it through the Hot Club de France. After World War II, several highly educated commentators insured that jazz was taken seriously. French radio jazz gradually acquired the support of the French government. This thesis describes the major jazz programs of France Musique and France Culture, particularly the daily programs of Alain Gerber and Arnaud Merlin, and demonstrates how these programs display connoisseurship, erudition, thoroughness, critical insight, and dedication. France takes its “stewardship” of jazz seriously. FRENCH STEWARDSHIP OF JAZZ: THE CASE OF FRANCE MUSIQUE AND FRANCE CULTURE By Roscoe Seldon Suddarth Thesis submitted to the Faculty of the Graduate School of the University of Maryland, College Park, in partial fulfillment of the requirements for the degree of Master of Arts 2008 Advisory Committee: Associate Professor Richard King, Musicology Division, Chair Professor Robert Gibson, Director of the School of Music Professor Christopher Vadala, Director, Jazz Studies Program © Copyright by Roscoe Seldon Suddarth 2008 Foreword This thesis is the result of many years of listening to the jazz broadcasts of France Musique, the French national classical music station, and, to a lesser extent, France Culture, the national station for literary, historical, and artistic programs.
    [Show full text]
  • Herbicide Persistence and Toxicity in the Tropical Marine Environment Mr
    Herbicide persistence and toxicity in the tropical marine environment Mr. Philip Mercurio III MSc, BSc (Honours) A thesis submitted for the degree of Doctor of Philosophy at The University of Queensland in 2016 School of Medicine National Research Centre for Environmental Toxicology (Entox) Faculty of Medicine and Biomedical Sciences Abstract Agricultural herbicides are ubiquitous in the nearshore water bodies of the World Heritage listed Great Barrier Reef (GBR). The main transport mechanism for herbicides is via offsite migration during intense monsoonal rainfall events of the wet season. However, some herbicides can be detected year round, indicating potentially long persistence. Despite the high mobility and potential toxicity of herbicides, there is very little information on the degradation of herbicides in the marine environment. This study was comprised of 4 major components: (i) flask experiments to test herbicide degradation over 60 days; (ii) an extended flask experiment for 365 days including light and temperature treatments; (iii) an outdoor open tank experiment for 365 days with light and sediment treatments; and (iv) experiments to examine the potential toxicity of transformation products. The flask degradation experiments were designed to mimic natural conditions including low herbicide concentrations, relevant temperatures and light and the inclusion of natural microbial communities. Very little degradation was recorded over the standard 60 d period (Experiment 1). The second experiment over 365 d revealed half-lives of PSII herbicides ametryn, atrazine, diuron, hexazinone and tebuthiuron were consistently greater than a year. The detection of atrazine and diuron metabolites and longer persistence in mercuric chloride-treated seawater confirmed that biodegradation contributed to the breakdown of herbicides.
    [Show full text]
  • Zerohack Zer0pwn Youranonnews Yevgeniy Anikin Yes Men
    Zerohack Zer0Pwn YourAnonNews Yevgeniy Anikin Yes Men YamaTough Xtreme x-Leader xenu xen0nymous www.oem.com.mx www.nytimes.com/pages/world/asia/index.html www.informador.com.mx www.futuregov.asia www.cronica.com.mx www.asiapacificsecuritymagazine.com Worm Wolfy Withdrawal* WillyFoReal Wikileaks IRC 88.80.16.13/9999 IRC Channel WikiLeaks WiiSpellWhy whitekidney Wells Fargo weed WallRoad w0rmware Vulnerability Vladislav Khorokhorin Visa Inc. Virus Virgin Islands "Viewpointe Archive Services, LLC" Versability Verizon Venezuela Vegas Vatican City USB US Trust US Bankcorp Uruguay Uran0n unusedcrayon United Kingdom UnicormCr3w unfittoprint unelected.org UndisclosedAnon Ukraine UGNazi ua_musti_1905 U.S. Bankcorp TYLER Turkey trosec113 Trojan Horse Trojan Trivette TriCk Tribalzer0 Transnistria transaction Traitor traffic court Tradecraft Trade Secrets "Total System Services, Inc." Topiary Top Secret Tom Stracener TibitXimer Thumb Drive Thomson Reuters TheWikiBoat thepeoplescause the_infecti0n The Unknowns The UnderTaker The Syrian electronic army The Jokerhack Thailand ThaCosmo th3j35t3r testeux1 TEST Telecomix TehWongZ Teddy Bigglesworth TeaMp0isoN TeamHav0k Team Ghost Shell Team Digi7al tdl4 taxes TARP tango down Tampa Tammy Shapiro Taiwan Tabu T0x1c t0wN T.A.R.P. Syrian Electronic Army syndiv Symantec Corporation Switzerland Swingers Club SWIFT Sweden Swan SwaggSec Swagg Security "SunGard Data Systems, Inc." Stuxnet Stringer Streamroller Stole* Sterlok SteelAnne st0rm SQLi Spyware Spying Spydevilz Spy Camera Sposed Spook Spoofing Splendide
    [Show full text]
  • Könnyűzene” Történetéből Sinkó Dániel Tartalomjegyzék
    14 kiemelkedő év a „könnyűzene” történetéből Sinkó Dániel Tartalomjegyzék: Előszó ….......................................................................…….. 3 1979-Pink Floyd, The Wall...................................................... 6 1980-Genesis, Duke ............................................................. 17 1981-Szabó Gábor, Femme Fatale........................................... 25 1981- King Crimson, Discipline …………………………….. 30 1982-Miles Davis, We want Miles.......................................... 39 1983-Yes, 90125 ....................................................................... 46 1983- Manfred Mann Earth Band, Somewhere in Africa ….... 53 1984-Pat Metheny, First circle …............................................… 60 1985- Dire Straits, Brothers in Arms …...................................… 67 1986-Peter Gabriel, So …........................................................... 75 1986-Paul Simon Graceland…………………………………….. 85 1987-U2, The Joshua tree.......................................................... 96 1987-Sting, Nothing Like the sun............................................. 105 1988-Pink Floyd, Delicate Sound of thunder............................. 114 1989-Jeff Beck, Guitar shop. …............................................... 123 1990- Phish, Lawn Boy …....................................................... 129 1991- U2, Achtung Baby........................................................ 134 1992- R.E.M., Automatic for the people …............................ 146 1992- Mike Oldfield, Tubular
    [Show full text]
  • Downbeat.Com February 2021 U.K. £6.99
    FEBRUARY 2021 U.K. £6.99 DOWNBEAT.COM FEBRUARY 2021 DOWNBEAT 1 FEBRUARY 2021 VOLUME 88 / NUMBER 2 President Kevin Maher Publisher Frank Alkyer Editor Bobby Reed Reviews Editor Dave Cantor Contributing Editor Ed Enright Creative Director ŽanetaÎuntová Design Assistant Will Dutton Assistant to the Publisher Sue Mahal Bookkeeper Evelyn Oakes ADVERTISING SALES Record Companies & Schools Jennifer Ruban-Gentile Vice President of Sales 630-359-9345 [email protected] Musical Instruments & East Coast Schools Ritche Deraney Vice President of Sales 201-445-6260 [email protected] Advertising Sales Associate Grace Blackford 630-359-9358 [email protected] OFFICES 102 N. Haven Road, Elmhurst, IL 60126–2970 630-941-2030 / Fax: 630-941-3210 http://downbeat.com [email protected] CUSTOMER SERVICE 877-904-5299 / [email protected] CONTRIBUTORS Senior Contributors: Michael Bourne, Aaron Cohen, Howard Mandel, John McDonough Atlanta: Jon Ross; Boston: Fred Bouchard, Frank-John Hadley; Chicago: Alain Drouot, Michael Jackson, Jeff Johnson, Peter Margasak, Bill Meyer, Paul Natkin, Howard Reich; Indiana: Mark Sheldon; Los Angeles: Earl Gibson, Sean J. O’Connell, Chris Walker, Josef Woodard, Scott Yanow; Michigan: John Ephland; Minneapolis: Andrea Canter; Nashville: Bob Doerschuk; New Orleans: Erika Goldring, Jennifer Odell; New York: Herb Boyd, Bill Douthart, Philip Freeman, Stephanie Jones, Matthew Kassel, Jimmy Katz, Suzanne Lorge, Phillip Lutz, Jim Macnie, Ken Micallef, Bill Milkowski, Allen Morrison, Dan Ouellette, Ted Panken, Tom Staudter, Jack Vartoogian; Philadelphia: Shaun Brady; Portland: Robert Ham; San Francisco: Yoshi Kato, Denise Sullivan; Seattle: Paul de Barros; Washington, D.C.: Willard Jenkins, John Murph, Michael Wilderman; Canada: J.D. Considine, James Hale; France: Jean Szlamowicz; Germany: Hyou Vielz; Great Britain: Andrew Jones; Portugal: José Duarte; Romania: Virgil Mihaiu; Russia: Cyril Moshkow.
    [Show full text]
  • Blues in the Blood a M U E S L B M L E O O R D
    March 2011 | No. 107 Your FREE Guide to the NYC Jazz Scene nycjazzrecord.com J blues in the blood a m u e s l b m l e o o r d Johnny Mandel • Elliott Sharp • CAP Records • Event Calendar In his play Romeo and Juliet, William Shakespeare wrote, “A rose by any other name would smell as sweet.” It is a lovely sentiment but one with which we agree only partially. So with that introduction, we are pleased to announce that as of this issue, the gazette formerly known as AllAboutJazz-New York will now be called The New York City Jazz Record. It is a change that comes on the heels of our separation New York@Night last summer from the AllAboutJazz.com website. To emphasize that split, we felt 4 it was time to come out, as it were, with our own unique identity. So in that sense, a name is very important. But, echoing Shakespeare’s idea, the change in name Interview: Johnny Mandel will have no impact whatsoever on our continuing mission to explore new worlds 6 by Marcia Hillman and new civilizations...oh wait, wrong mission...to support the New York City and international jazz communities. If anything, the new name will afford us new Artist Feature: Elliott Sharp opportunities to accomplish that goal, whether it be in print or in a soon-to-be- 7 by Martin Longley expanded online presence. We are very excited for our next chapter and appreciate your continued interest and support. On The Cover: James Blood Ulmer But back to the business of jazz.
    [Show full text]
  • 15! Phish—Comprised of Trey Anastasio on Guitar and Lead Vocals
    Phish—comprised of Trey Anastasio on guitar and lead vocals; Mike Gordon on bass and vocals; Page McConnell on piano, keyboards, and vocals; and Jon “Fish” Fishman on drums and vocals—formed at the University of Vermont (UVM) in the early ‘80s and became one of the most successful rock bands ever. Their success story is built upon a rare combination of raw talent, strategic business acumen, and various moments of rock and roll serendipity. An abbreviated synopsis of Phish’s formation helps to place their trajectory and subsequent press coverage in context. Recognized as the first Phish gig, Anastasio, Gordon, Fishman, and brief member Jeff Holdsworth played as Blackwood Convention at a UVM cafeteria on December 2, 1983. In late 1984, they adopted the name Phish, reportedly in homage to Fishman. Through this period in the early-‘80s they were also joined by brief member Marc “Daubs” Daubert on percussion and occasional guest Steve Pollack, “The Dude of Life.” In May, 1985, nearby Goddard College student Page McConnell joined the band for the first concert collaboration of what would eventually become the four constant Phish members. McConnell was invited to join the band permanently in September that year. In spring of 1986, Holdsworth graduated from UVM and left the band. With the departure of Holdsworth, Phish’s current four-member lineup emerged (Mockingbird, 2004, p. 5). Gehr (1998) explained that “Phish had covered several Dead tunes during their first couple of years together but soon dropped them to avoid the onus of being pigeonholed as yet another Dead cover band” (p.
    [Show full text]