Jam Chart for Theme From the Bottom (35 entries)
| Date | City | Timing | Notes |
|---|---|---|---|
| 1995-05-16 | Lowell, MA | 10:42 | Debut is an exceptionally well played version. With rich melodic content from Trey and great band-wide interplay, the jamming potential for "Theme" is clearly on display in this first go-around. |
| 1995-06-07 | Boise, ID | 12:28 | Jam section has an unusual, repeated descending chord progression. At 8:20, it morphs into a creepy, nerve-rattling jam, returning to "Theme" proper at 9:55. The quality versions from 6/25/95 and 7/1/95 have a similar descending chord structure. |
| 1995-06-19 | Noblesville, IN | 11:47 | Although essentially "Type I," there is a high degree of melodic variation from Trey in this strong summer '95 version. |
| 1995-06-22 | Canandaigua, NY | 12:01 | Intense, well played version approaches the conclusion, and then morphs into an eerie, psychedelic 5 minute exploration that gains some propulsion before a -> into the "Fleezer," a monster version of "Tweezer." |
| 1995-10-13 | Fort Worth, TX | 12:11 | Beautifully played, straightforward version is augmented with a percussive, dissonant ending section. -> to "Wilson." |
| 1995-10-24 | Madison, WI | 11:21 | Strong "Type I" version is yet one more example of why 1995 was such a stellar year for the band. |
| 1995-11-09 | Atlanta, GA | 10:47 | Some powerful playing by Trey early in the jam. Unusual and intense ending. |
| 1995-12-28 | Worcester, MA | 12:13 | Rocking, tension-filled version with a psychedelic edginess to it, including a dissonant ending. |
| 1996-11-27 | Seattle, WA | 9:10 | -> in from "Free." The jam takes a very different and interesting direction than most before getting back to "Theme." |
| 1997-07-21 | Virginia Beach, VA | 7:10 | At 7:10, the jam veers into a nice funky groove. Then at 8:30 LeRoi Moore pipes in on the saxophone. He plays a tease from the "Theme To Woody Woodpecker" and then he and the band embark on a funky, jazzy exploration. Page switches keyboards several times and the jam grows weird, dissonant and chaotic towards the end. |
| 1997-08-09 | East Troy, WI | 9:52 | Very strong group interplay, between Trey and Page in particular, but also between Mike and Fish, gives this version a sound and dynamic almost like "Taste" or "Limb By Limb." |
| 1997-08-16 | Limestone, ME | 12:22 | The band covers a lot of varied musical territory in this "Type I" version that includes a "What's The Use" tease. |
| 1997-11-23 | Winston-Salem, NC | 10:23 | Great, tight playing by all. Page adds some unusual horn-like effects as well as some descending piano progressions towards the end. > to "Black-Eyed Katy." |
| 1997-12-07 | Dayton, OH | 10:20 | Precise and coordinated modulation between major and minor modes by Trey, Page and Mike give this excellent version a subtle sense of tension and release. |
| 1997-12-29 | New York, NY | 12:31 | Blistering, high octane version with nice concluding transition space and a > to "Fluffhead." |
| 1998-11-11 | Grand Rapids, MI | 11:31 | The sentiment shifts from blissful elation to hard edged rocker in this strong, well played "Type I" version. |
| 1998-11-29 | Worcester, MA | 11:00 | Very fine soloing by Trey and great interplay with Page on this solid, straightforward version. |
| 1999-07-26 | Noblesville, IN | 14:06 | Soaring, but essentially a straightforward version has an elongated concluding section with a > to "DwD." |
| 2000-06-16 | Suminoe-ku, Osaka, Japan | 14:43 | -> in from "Runaway Jim." The jam has a very relaxed feel to it and some typical '00 sounds from Trey. At about 7:30, a droning, Fish and Gordon section begins. Trey adds some high pitched effects, and at 11:25, Page plays the chords signaling the impending conclusion. A gradual cycle down leads to a -> to "Dog Faced Boy." |
| 2000-07-03 | Camden, NJ | 10:07 | Beautifully played version that has that unique '00 dreamy feel to it. > to "Sand." |
| 2000-09-17 | Columbia, MD | 11:10 | > in from "R&R." At about 8:45, shifts away from "Theme" proper into Mike led, low key, pulsing groove. Some nice, subtle Page and Trey fills in this jam. All of a sudden, Fish and Mike shift gears with a great -> to "Dog Log." |
| 2003-02-25 | Philadelphia, PA | 16:35 | Jam begins conventionally until 8:40, when it abruptly shifts into a great, rocking groove. Mode shift again at 11:35 when the jam takes on a bluesy and somewhat funky vibe, which continues for about a minute until the ending section suddenly appears. Great little groove tacked on the end as well, with a > to "Runaway Jim." |
| 2003-12-28 | Miami, FL | 9:49 | > in from a jammed out "Suzy G." The boys rock this one pretty hard, but it's different, well played, and interesting. |
| 2012-08-19 | San Francisco, CA | 7:44 | "Theme" is one of those songs where the jam can be repetitive and pointless, or it can be inspired, rousing and melodic. Nice to see Trey opt for the latter in this 3.0 standout version. |
| 2013-07-03 | Bangor, ME | 9:39 | A clean bridge!!! The jam that follows is melodic, varied, and interesting. Trey makes good use of the "allotted" jam space. |
| 2013-08-02 | San Francisco, CA | 8:17 | By mixing up the melody of the jam more than in the past, the band is creating more interesting versions in less time. Nice! |
| 2013-11-02 | Atlantic City, NJ | 13:58 | As a standard "Theme" jam draws to a close, it morphs into a jam on the "Theme From Shaft" with amusing banter from Trey and Fish. Some good funky jamming follows the banter before returning to "Theme" to end. |
| 2014-10-22 | Santa Barbara, CA | 10:22 | A typically fluid "Theme" jam takes a turn from the bottom to the side with an "Echoes"-like (Pink Floyd) jam, replete with Gilmour licks, before sliding and modulating seamlessly -> Steam. |
| 2014-12-31 | Miami, FL | 12:49 | A fresh and varied take on the typical "Theme" jam leads into a stop-start section that turns percussive before "The Birds" stylings lead the attack with a smooth -> Cities. |
| 2017-09-01 | Commerce City, CO | 9:20 | Fluid jam, with Trey running through an airy, lilting line, his play accented by colorful fills from Page. After shaping his tone and working the version to a peak, Trey > for a fresh "Free", further toying with his effects, and working his Korg Kaoss Pad a bit like an instrument. Cool combo. |
| 2018-08-08 | Camden, NJ | 8:23 | Trey's solo is short and to the point but played with inspiring confidence and results in a strong collective peak. |
| 2022-08-10 | Toronto, Ontario, Canada | 13:37 | Workhorse song goes huge, with Trey, just past the five-minute mark, riding rhythm effortlessly offset by an array of notes effects-laden and so "played," in equal measure, by his feet. Wonderful. Page is grand on his piano. Mike's play is deft and sweet. And Fish. On full display, here, that ineffable quality that is a sort of lead drum, a perfect case in point for the man who, if Trey had to lay down money, would pay to see play. |
| 2022-12-30 | New York, NY | 14:58 | Despite some tuning issues in the composed section, the band ultimately delivers the second massive "Theme" of '22. The usual soaring play giving way around 6 min as Trey shifts to a more rhythmic approach and Page adds some crunch on the clav. The jam, gaining momentum, grows darker propelled by Mike's aggressive lines and Fishman's deft cymbal work as Trey's tone becomes grittier. Page moves back to piano and around 11 min the band modulates to a brighter space with Trey continuing to adjust his sound. Play then turns atmospheric under the influence of Page's synths and Mike's bass effects before > to "Reba". |
| 2023-07-30 | New York, NY | 10:47 | Playful, sprite, and inventive, this is no deep dive, a la 1997, but rather a reflection of Trey's recent penchant to embrace, then explore, recent goofiness. Whacky vocals, "funky" otherness, Trey, way out front and in full effect, moves through his bag of tricks, offering a version that settles to become quite serious, a take on this classic that's not to be missed. |
| 2023-12-29 | New York, NY | 10:36 | A soaring, muscular version distinguished by bright and conversational interplay is especially notable for the return of Trey's "Deluxe Reverb" which paints the affair with cascades of crystalline peaks, settling eventually into a cloud of sound that uncurls into "Mountains in the Mist". |
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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