On most days I'm now certain that Phish's Amsterdam box contains the finest music I've ever heard (other days it's Hampton/Winston-Salem, Ventura, Chicago...). Trey's play here exemplifies a couple characteristics that were central to Jerry's style, that is, the note unplayed and emotivity. Check out his resurrectory solo beginning at 4:20 (!) - following a midsong wind down to baseline pulse - that is at first poignant, then positively uplifting after rebirth from pregnant pause at 5:42, and which finally soars at 7:28 under power of an updraft generated by Page's piano...