Jam Chart for shows in the city of Boston, MA (29 entries)
| Date | Song | City | Timing | Notes |
|---|---|---|---|---|
| 1988-11-03 | Boston, MA | 7:06 | > in from "Fluffhead." Solid early version with great playing by Trey, especially near the conclusion of the jam. | |
| 1989-03-24 | Boston, MA | 6:48 | This fiery version marks the first instance of the 2nd jam, separated from the 1st jam by D, E, and F# chords at 5:22. While only 20 seconds in duration, over time, the 2nd jam would at times become significant. The 2nd jam concludes with a repeat of the D,E, and F# chords, followed by the closing chords. | |
| 1989-11-30 | Boston, MA | 8:53 | > in from "AC/DC Bag." Really great Trey soloing, and a high power build-up. | |
| 1989-11-30 | Boston, MA | 11:34 | Fierce, dissonant and improvisational jamming including several times when the jam grinds to a near stop, then picks up tempo again. | |
| 1989-11-30 | Boston, MA | 8:27 | Great version which includes some "DEG" teasing in the latter part of the jam, which works well with "SOAM." | |
| 1989-12-01 | Boston, MA | 8:26 | Quite a few guitar playing styles on display here in this rousing, encore slot version. Great way to end a show. | |
| 1990-12-31 | Boston, MA | 6:47 | > from "Coil", "Jim" offers a nice, stark contrast, illustrating the band's versatility. Mike's line (later picked up by Page) is fun and infectious, before the song's sustained and collective calm explodes into incredibly fast play - even for early Trey. | |
| 1992-05-16 | Boston, MA | 8:42 | Running 8:42, this "Jim" is one of the longest versions to date, and the band capitalizes upon every possible moment. Anchored by typically strong percussion, Trey swings through two separate, yet equally strong runs, his inspired play complimented by great bass and on-point Page. | |
| 1992-10-30 | Boston, MA | 9:53 | Excellent and unusual version. A great quiet section and good improvisational playing. | |
| 1992-12-31 | Boston, MA | 9:39 | Beginning around 4:00, the jam settles into an improvisational section with excellent contributions by all four. After returning to the standard, the jam features intense and top notch "Type I" rocking. | |
| 1994-12-31 | Boston, MA | 16:33 | Spacey intro with a "Digital Delay Loop" section to lead off. Intense Page. Extended Trey section is really more of a full band jam than as typically presented. Eventually gets back to "Maze" proper for a red hot finish. | |
| 1994-12-31 | Boston, MA | 8:47 | "Mike's" -> "Buffalo Bill" -> "Mike's." While the 1st jam is standard, incendiary '94 material, the 2nd jam has solid, varied improvisational play before the ->. | |
| 1994-12-31 | Boston, MA | 1:56 | -> in from "Mike's Song." A nice version of "Buffalo Bill" is sandwiched in a solid '94 "Mike's." The -> back to "Mike's" is great stuff. | |
| 1994-12-31 | Boston, MA | 1:48 | -> in from "Buffalo Bill," the return to "Mike's" is several steps better than "normal," well worth checking out. | |
| 1994-12-31 | Boston, MA | 10:35 | Typically strong '94 fare includes "CYHMK" jamming, a funky breakdown section with Page on clavinet, strong exploratory play by all four, and an "Auld Lang Syne" tease as this "Weekapaug" heads for home. | |
| 1994-12-31 | Boston, MA | 10:19 | Fiery, powerful and precise '94-style jam with an unusual and spacey outro jam tacked on. | |
| 1994-12-31 | Boston, MA | 11:21 | Trey and Page add a big exclamation point to end the final frame of a fantastic year for the band. | |
| 1996-12-30 | Boston, MA | 12:43 | Trey employs a warm, "watery" tone, to play with focused precision and remarkable restraint. Truly notable support from Page creates more of an open and spacious canvas of sound (as opposed to "jam"), whose principal characteristics stem from an organic, natural vibe. The version floats evenly and easily for some time, before being shaped to a pointed, emphatic peak. | |
| 1996-12-30 | Boston, MA | 14:45 | Very good version to be sure. | |
| 1996-12-30 | Boston, MA | 13:19 | Page > Mike on bass > the whole band playing along > klezmer stops, Steven Wright rings bell, klezmer > bell, klezmer > bell, no Mike but straight transition to finale. | |
| 1996-12-30 | Boston, MA | 11:47 | A nice extended settled section, some cool "Johnny B. Goode"-like strumming, and a rousing peak in this fun version. | |
| 2003-12-02 | Boston, MA | 15:27 | Dissonant high power jam in this 20th Anniversary show version. | |
| 2003-12-02 | Boston, MA | 17:59 | Very good, multi-section version breaks from "R&R" into a pulsing, funky and bluesy groove. From there, it settles with solid instrumental effects, before regaining momentum and -> to "Weekapaug." (w/o any "Mike's"). | |
| 2003-12-02 | Boston, MA | 6:10 | 20th Anniversary edition. The jam shifts in the last minute to set up the segue into "Cities". | |
| 2003-12-02 | Boston, MA | 16:53 | > in from "Cities." Technically "Type I," yes. But this is one of the most unusual, cool versions ever performed, starting with Page's section, and continuing into Trey's. You gotta hear this one! | |
| 2009-05-31 | Boston, MA | 7:30 | Debut. | |
| 2009-05-31 | Boston, MA | 13:09 | "Theme from the Bottom" jam for a bit. | |
| 2009-05-31 | Boston, MA | 4:42 | Debut. | |
| 2019-07-05 | Boston, MA | 19:58 | Extended take gradually leaves "Mercury" proper behind with some amorphous riffing and then enters an ethereal passage with meditative bass and searching guitar leads over a bountiful bed of church-like organ tones. |
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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