Ya Mar

, comment by n00b100 , attached to 1997-12-13
n00b100 Another pleasant surprise from an underrated show (as most of the non-canon Fall '97 shows tend to be), as out of the usual Ya Mar jam comes something more contemplative and melodic - actually, not too far away from how the Hollywood Hood slides into Type II - that launches into a superb, relaxed Trey showcase that gently hints at the boulder-rolling-down-a-hill propulsive jamming of Mike's Song. The funk starts creeping in around the 14 minute mark, and the jam comes to a surprisingly quiet close. A really great version.
, comment by HarpuaTheBulldog , attached to 1997-12-02
HarpuaTheBulldog Only the best segue ever done by Phish. The 12/02/1997 Ya Mar -> Weekapaug Groove is the epitome of the segue arrow. Unbelieveable.
, comment by FunkyCFunkyDo , attached to 1997-08-06
FunkyCFunkyDo Description:
Rather modest at first, not to say bland, as Ya Mar is always performed with spice. Page is delightful on the keys in his opening salutation. Fishman, tiptoeing around only the daintiest parts of his kit. When Trey takes his solo, he sprinkles notes the way a tropical cloud might sprinkle rain onto an island. Warm, soft, enveloping. He and Page create thicker drops as the rhythm section creates more condensation overhead from which to precipitate. The jam rains harder, a sprinkle turned into constant showers. Mike begins to thunder. lightly, but the storm dissipates into sunlight as Trey rides the scales up to fantastic Mike vocal scream. A proper conclusion to the song.

Reflection:
A delightful little tropical rain shower. In the box, but with loose joints and rounded corners, allowing just enough air, light, and water in to create an musical environment. Page and Trey connect mid-jam for some pre-plinko grooves. A pleasant first set cloudburst.

Estimated pants removed (out of a possible 500):
401
, comment by FunkyCFunkyDo , attached to 1997-07-31
FunkyCFunkyDo Description:
It starts out as a smooth but not perfect > from a funked out, show opening Ghost. Mike sounds enthused off the bat and sets an energetic tone for the jam to comes. I can imagine why. Spunky, bright Fish splashes over Page's first solo (Fish is different, Page is standard). Everyone seems happy, there is a audible lightness to the jam. FIshman drums on coconuts during Trey's first solo - key playing by FIsh, spiritedly by Trey. Trey drops out 6:30. Page drips away. Trey lingers back in, Fishman picks up intensity, sensing new direction, make haste. Mike starts to groove and rumble, however, as they feign a return back into the Ya Mar refrain. Trey sounds almost Dead-ish over Mike's auditory bouldering . Trey starts scratching while Mike plays downhill. Mike changes tempo, goes subterranean, gets deeper. Jam gets blue, digs deep. Trey/Page interplay - minimalistically/exceptionally tight for how few and quiet the notes are. Fishman keeps steady beat. Mike has good spacing, allowing the jam to breathe from its stomach. Exhale. Gets almost Rift esq in intensity, tempo veers toward frenetic. Trey swoops in for a close, but Fishman does not relent, restarts with a snare role. Groove continues to forage. Ultimately finds a spacey fade into Dogs Stole Things.

Reflection:
Highly-connected playing showcased with tempo changes, volume changes, and attitude changes to and from all four band mates. It's as if the jam was dreaming - fluidly making sense as it is shifts from different, cosmic idea to different cosmic idea. Cohesive, original, and given the placement and newness of this Ya Mar, I can only imagine how many pairs of pants the clean up crew found post-show.

Estimated pants removed (out of a possible 500):
439
, comment by westbrook , attached to 1996-11-02
westbrook This is my go-to Ya Mar. As the jam chart says, it really has a tropical feel due to the added percussion and Trey's solo is really tasty. The unusual thing is that it was played a half step lower than normal. Who knows why, but this is a great version.
, comment by kipmat , attached to 1994-04-18
kipmat This version is utterly charming, beginning with Trey’s opening dedication. There’s some tomfoolery during the “he was a no good pa” section, and “Leo” switches to the Fender Rhodes keyboard for his solo, with the band following attentively. Trey deftly keeps things moving, and Mike’s extended toasting tops it off in fine fashion.


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