Writer’s Workshop: Mr. Miner (a.k.a. Dave Calarco)

HT: What were the biggest challenges in getting the book published?

MM: As I began to investigate getting a book published, I spoke to published authors and people in the industry, and from what everybody told me, I learned that getting a manuscript picked up by a publishing house is next to impossible these days. Some of the stories I heard were just ludicrous. Meanwhile, I had a friend who had self-published some books as a part-time business and I began to talk to her about this option. Right about that time, a friend of hers who was working for a design firm in Philly—BAJ Design—reached out to me about my project. It turns out that their head designer, Brian Jacobson, was a huge Phish fan, had heard about my project, and really wanted to collaborate. It was another case of things falling into place when you are following your heart. He had only done two books before this one and I had done zero, so it was kind of like diving into the deep end together with only a few swimming lessons. But because we both had a passion for the band and making a product that would honor their legacy in every way, it really turned out to be a great partnership.

HT: Here’s a question that I thought you would probably have an interesting viewpoint on. To what extent do you think a great Phish show is premeditated versus coming to fruition in the moment? In other words, do you think Trey decides to write a crazy setlist and the band knows going into it on a given night that they are going to blow minds or do you think the truly great ones just happen?

MM: Ya’ know, that’s the eternal question, isn’t it? Here’s my take. Sure, there may be aspects to shows that are premeditated as far as setlists go and what songs will get huge jams that night, but when the band steps on stage, great shows happen in the moment. There is no question in my mind. If Phish “decided” to play great shows, why wouldn’t they do so every night? Why wouldn’t every show be transcendent? I don’t think the guys say to each other, “Let’s make this one extra special tonight. Let’s try harder than usual. Let’s really hit ‘em in the heart tonight.” Crazy setlists don’t make great shows, transcendent improvisation makes great shows, and that is something that happens when the band is fully synced and clicking on stage. They guys are human, thus it’s only natural that this single-minded playing will happen more easily on some nights than others. But when the band really gets in the zone, like August ’93, December ’95, or Fall ’97, they— literally—get on a hot streak where this level of communication is happening more routinely and more readily than usual. The band in these instances, like an athlete, feels the flow and is firmly in the zone and, subsequently, great Phish shows happen more regularly. Not to overuse the sports analogy, but a hitter in baseball doesn’t premeditate four-hit games, they happen in the moment as a convergence of many factors. I think IT works the same way for Phish.

HT: Finally, since it is your namesake and all, let’s hear Mr. Miner’s best three Harry Hoods ever played?

MM: Well, I’m no authority, but I can tell you a few of my favorites, how bout that? Interestingly, one of my absolute favorite versions just happened in Worcester last year on 12.28.10. I find that jam to be a portrait of perfect and equitable musical communication. But for the classic versions, 12.31.93 and 12.30.95 come to mind right away. And just for kicks, though a completely different beast altogether, we’ll throw in one from post-hiatus—Charlotte, 7.25.03, one of the more unique “Hoods” you’ll ever hear.

Wait for it… Thank you Mr. Miner.