This entry contains legacy content in the earler Phish.internet’s FAQ file and/or from earlier editions from the Phish Companion. It might be incomplete and/or out-of-date, but hopefully to update it soon.
Born Ernest Frederick Anastasio III on September 30th, 1964.
Family: Trey was created in Fort Worth, Texas and gone to live in Princeton, NJ within the summer time of 1966. His mother, Dina, is definitely an author and it was editor of Sesame Street Magazine. Dina has written several tales and songs along with Trey. His father Ernest (“Ernie”) was the manager V . P . of Educational Testing Services in Princeton, Nj, who administer the Sitting along with other aptitude tests. Trey’s one brother or sister, sister Kristy, was an environmentalist and author from the Ecosystem of Place who directed the Phish Update e-newsletter before the development of the Döniac Schvice she died in ’09. Trey’s dog Marley (who died 10/8/00) is featured on a couple of his guitars and toured using the band in the past. (Phish’s song publishing company, “Who’s She? Music” was named after Marley, and TPC2 was at part focused on him.) Trey married Susan Eliza Statesir on 8/13/94, that he’s two kids, Eliza Jean (b. 8/21/95) and Isabella (b. 4/22/97). He presently resides in Vermont.
Education: Attended Princeton Day School for junior high (fifth through tenth grades) where he met future friend and songwriting partner Tom Marshall performed as “Frederic” within the eighth grade manufacture of The Pirates of Penzance would be a tenor within the award-winning a cappella Madrigal Singers was at the jazz band and (in ninth grade) was the drummer within the Princeton Day School performance of Circus in the Circle within the Square Theater on Broadway.
Attended The Taft School for top school (beginning with tenth – yes, a repeated year), where band Space Antelope created, and graduated in 1983. Declared like a Philosophy major in the College of Vermont (fall 1983 to spring 1986, aside from spring 1984), where he met Ernie Stires and located a morning radio show (Ambient Noisy Alarms). Received a Bachelors of Arts degree from Goddard College (fall 1986 to spring 1988), where he authored The Person Who Walked Into Yesterday for his Senior Thesis.
Nicknames: Trey (as with in france they “tres” meaning three he’s a “third”) Giuseppe (his middle name in Italian, e.g. around the White-colored Tape as well as in 2002 Radio Interviews) Skinny Guinea Shaggy Big Red Unhealthy Lieutenant The Great Lieutenant Crimson Dago.
Previous Bands: Red Tide Space Antelope.
Instruments: Guitar drums (from age 7 to 17, with Phish when Fishman involves the leading from the stage) percussion small-package (utilized by Trey summer time 1995 to spring 1997) drumsticks (on any surface, including his guitar, for example at 5/6/93) megaphone (the verses to “Fee” from 11/19/92 to circa 8/96, from time to time during “BBFCFM,” fall ‘94 through ‘96, spinning it in circles together with his arm extended, adding feedback as with the “David Bowie” 11/26/94, as well as in “I Didn’t Know” 6/15/95) fiddle (e.g. “Butter Them Biscuits” 11/18/94 and 11/19/94, “Lengthy Journey Home” 11/19/94), beer bottle (“BBFCFM” 6/6/96) slice of pizza (11/16/91) electric guitar (usually for “Horse,” from time to time for that opening of “My Pal My Pal,” as well as in “Acoustic Army,” and much more lately for Driver,” Mountain tops within the Mist,” “Inlaw Josie Wales,” “Spices,” as well as on his solo tours) a Yamaha AN1-X keyboard (particularly during “Sand” and frequently during fall ‘99) piano (during “Walfredo” and “Rock A William,” as well as on his May ’99 solo tour) and Matterhorn (on Oysterhead tour).
Authored: Nearly all Phish songs (together with partner over time Tom Marshall), including all the songs on TMWSIY and Farmhouse and co-authored others attributed fully band. First printed song that he was compensated was “Close Your Vision,” on the children’s album included in a set by Macmillan he (for that music) and the mother (for that lyrics) received $300 each, and authored three more songs together for that series.
Key Side Projects: Jazz Mandolin Project, 1993 Bad Hat, 1994 8 Feet Fluorescent Tubes, 4/17/98 Phil Lesh and Buddies, April 99 Vermont Youth Orchestra, 2/2/01, 2/4/01 Oysterhead, Fall 2001 Dave Matthews and Buddies, winter ’03-’04 Trey Anastasio “solo” (generally known but never formally created ‘Trey Anastasio Band’ or ‘TAB’), first in Feb after which May ’99 with acoustic/electric setup, on the other hand in the winter months ’01 with horn section and growing incrementally towards the 10-piece ensemble from October ’02 forward.
Key Side Albums:Surrender towards the Air. 1996 Ernie Stires’ Samson Riffs. 1997 solo effort One Man’s Trash. 1999 with Tom Marshall Trampled by Lambs and Pecked through the Dove. 2000 Oysterhead’s The Grand Pecking Order. 2001 self-entitled solo effort Trey Anastasio. 2002 live solo Plasma. 2003 solo Seis de Mayo. 2004
Attire: typically t-shirts, e.g. a black one which states NEEHAN, most likely from Japan, and from time to time some which were grabbed within the lot
In October 2000, Trey introduced themself as Skinnie Minnie and lifted his shirt to exhibit his stomach (Bjrobe72@america online.com 10/2/00). His wife Sue calls him The Relentless Communicator (Aspen Occasions, 6/23/06).
See also: Trey’s role in Phishstory. and the mother labored for Sesame Street . and pay attention to the crowd sing him Happy Birthday on 9/30/30.
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An abundant songwriter, Phish guitarist Trey Anastasio silently spent area of the past 2 yrs focusing on a score for any new musical – an adaptation from the documentary On the job a Hardbody – that will debut this spring in La Jolla, California. Having a book compiled by Pulitzer Prize champion Doug Wright and dance figures choreographed by Benjamin Millepied (Black Swan ), Anastasio certainly isn't the only real marquee name associated with the work. But his participation will, without doubt, constitute interest to some rabid audience of Phish-heads who might not always be referred to as enthusiastic theater-goers.
Playwright Wright informs Moving Stone he was surprised when Anastasio expressed curiosity about getting involved, but was nevertheless stunned once the guitarist quoted musical riffs from Gypsy in their initial meeting.
Lots of rock roll artists have attempted their hands at writing for that musical stage and unsuccessful, states Wright. It's a really tricky medium. Songs play a really specific role within the theater they need to reveal character, forward the show's narrative, and amplify its key styles. Music can't exist onstage just because of its own sake.਋ut Trey without effort knows this he's not only a music performer, however a born storyteller. He understands how to employ music to attain dramatic ends.
For his part, Anastasio has always put themself in new situations, from assembling acidity-jazz ensembles (Surrender towards the Air) to creating symphonic scores and performing with orchestras such as the New You are able to Philharmonic. He once toured as part of Dave Matthews and Buddies, and the own solo band continues look around the options of massive band jazz rock.
With Phish, Anastasio has always incorporated diverse aspects of barbershop, bluegrass, jazz fusion, funk, folk. and, yes, even Broadway. Within this exclusive interview, he informs Moving Stone why dealing with composer Amanda Eco-friendly around the score for On the job a Hardbody has still been a completely different experience.
What made you choose to do project?
I've always loved musical theater. It's a family tradition. My grandmother would be a single mom of two, residing in New You are able to City within the Forties and Fifties, and she or he required my mother to determine many Broadway plays. They saw Mary Martin, John Raitt, Gypsy. South Off-shore. Oklahoma. everything. After I was becoming an adult in Nj, my mother would regularly take my sister and that i in to the city to determine shows. I’ve many fond recollections of waiting in the half-cost ticket line in Occasions Square on and on to matinees. In your own home, there have been always soundtrack albums playing. Plenty of Stephen Sondheim, West Side Story. Hair along with other shows.
Before relocating to the town from Vermont permanently seven years back, my spouse Sue and that i designed a indicate continue the tradition. We take our kids and my nephew to Broadway shows regularly. It can make me so happy they love a play today.
I had been brought to Amanda Eco-friendly a couple of years back with a mutual friend who believed that we’d want to write together, and that he was absolutely right. Everything clicked from day one. We authored 3 or 4 songs during the period of a couple of months, after which Amanda described in my experience that they and her friend Doug Wright have been focusing on a musical – On the job a Hardbody. Apparently, these were searching for any third collaborator coupled with been exploring various choices for the background music. She asked me to participate them around the creative team. I had been honored and thrilled. Both are phenomenally gifted artists and that i was particularly drawn to the thought of a play about several industrious individuals from a financially depressed region, battling together over a number of days without sleep, to win a truck. Thinking about the issues within our country today,  it appeared just like a relevant and incredibly American story.
That which was probably the most unpredicted challenge of writing the first real score?
It's been a high learning curve. I've found that within the theater the story is everything. Every lyric, every line and each musical gesture has to propel your way of the given character or even the overall plot. We've had workshops that occur over 2 or 3 week periods. Within the workshops, actors run through each number with minimal props and blocking. Sometimes an audio lesson doesn't land the way you expected it to. The answer is frequently not things i might have anticipated.
In a single situation, there is an audio lesson that Amanda and that i wrote that people were particularly looking forward to. Once the actor sang it within the workshop, it didn't have a similar emotional impact because it did around the demo. Amanda, Doug and that i huddled in the hallway to speak about it. I recommended re-writing the song, but Doug could not agree. He described that within this situation, he didn't believe that the problem was the song. He felt the character needed a couple of more lines of dialogue to create the song up, so the audience understood the function of the song before they heard it. He altered the actor's lines, we ran it again also it was stunning. It was an entire thought in my experience. Previously, I've habitually brought using the music. I've learned a great deal from this experience.
 
Did writing theatrically minded music during your career – including Gamehendge (a kind of rock opera that Phish has performed) – help you prepare to create for that stage, or maybe it was an entire different experience?
I've certainly imagined of using this method in my whole existence, however i would need to say it had become an entire different experience. The actors are extremely creative and gifted and fun to be with. Everyday, throughout the workshops, we’d go downtown to some little room near Union Square, six days per week, from 10:00 a.m. till 6:00 p.m. and pay attention to twelve phenomenal singers flowing their hearts and souls into our songs in glorious harmony – two ft before our heads. It's indescribable.
Have you learn anything new about songwriting that you simply expect you’ll tote around?
The knowledge will definitely affect future songwriting. These songsਊre, by their very nature, much more direct emotionally than many songs which i've written or co-written previously. Writing for singers apart from myself, or any other band member, continues to be incredibly liberating. And on the top of that, dealing with Amanda and Doug continues to be like attending an expert class. Even the idea of writing within the best range for any given singer was something which I didn't give much considered to򠯯ore. Now I realize that transposing an audio lesson one half step can effect the believability of the lyric. Who understood?
How was dealing with Amanda Eco-friendly diverse from dealing with your longtime collaborators and songwriting partners?
Meeting Amanda continues to be a complete gift, as has meeting and dealing with Doug I've learned a great deal from each of them. I'm unsure the way it's different. I consider myself very lucky to possess had the chance to utilize a lot of great collaborators within my lifetime. I've always loved the expertise of working with others toward a creative goal.
Obviously, anybody who writes recognizes that ultimately nearly all your time and effort is spent alone inside a room having a piano or perhaps a guitar, regardless of what the work is. Ernie Stires, my mentor and composition teacher, accustomed to tell me, Composition is really a lonely business. Maybe that's what's various and so exciting relating to this. Focusing on a play is really a vibrant and collaborative business. Everybody in the choreographer towards the music director towards the director towards the authors interact toward exactly the same goal, and everybody chimes in on everything.
It's so refreshing. Individuals are constantly huddling in little circles, asking them questions. It's satisfying and challenging on a lot of levels. I'm very grateful to take part in this team.
'On the job a Hardbody' will premiere at La Jolla Playhouse in La Jolla, Calif. on April 27th.
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