Soloing Phish guitarist can do no wrong February 24, 2001 - The Boston Globe by Tom Kielty There was food in the water, and the Phish fans knew it. Trey Anastasio, resident guitar guru for the Vermont-based jam band, had broken from the group's self-imposed hiatus to play the first of 10 sold-out solo dates. To fans huddled outside the Orpheum Theatre, index fingers extended in hopes of procuring a ''miracle'' ticket, the appearance was nothing short of a blessing. Inside the building, anticipation was equally high. So when the amiable guitarist loped onstage, dressed casually in jeans and dark shirt, he wasted little time. He immediately launched his five-piece backing band into ''Mozambique,'' a jazzy New Orleans-flavored instrumental that previewed the prominent role a three-piece horn section would play throughout the evening. Dancing an improvised two-step as he smilingly scanned the crowd, Anastasio looked pleased to be back on stage. An adventurous musical explorer, his set was indicative of a musician who has been influenced equally by Sun Ra and the Beatles. Over the course of two hour-plus sets, the bearded and bespectacled guitarist attacked pieces reminiscent of both with equal vigor. Mixing a batch of new songs with some impressive covers, most notably a gorgeous reading of the Band's ''It Makes No Difference'' that suited his unique voice wonderfully, Anastasio seemed at points to use Phish standards as pacifiers. In exchange for indulging a drum-heavy avant jazz piece, the crowd was treated to a 15-minute run through ''Sand.'' In appreciation for allowing him to play an abundance of new material (seven songs were debuted) Anastasio tore through an acoustic rendition of fan favorite ''Back on the Train.'' Anastasio's virtuosity is unquestioned, and he moved impressively between Parliament Funk-iness and New Orleans tradition, the horn trio of Dave Grippo, Jennifer Hartswick, and Andy Moroz driving the intensity of one song before applying a melancholy touch to another. Their pretty instrumental ''At the Barbecue'' segued wonderfully into two acoustic numbers, ''At the Gazebo'' and the gorgeous new ''Waves,'' that were among the evening's highlights. At times, the night took on the air of a large open rehearsal, Anastasio gesturing and counting out measures to his bandmates in mid-song, even enthusiastically applauding an abrupt end to one piece. Perhaps most impressive for a guitarist of his renown is Anastasio's ability to step back and not play, at points listening closely to the intricacies of a jam before stepping in to tastefully apply his notes. In other spots, however, he was less restrained, and there were moments where the mission might have been called back before being allowed to wander into aimlessness. The results in either case were met with enthusiastic applause, and therein lies the Phish quandary. While the devoted embrace Anastasio's every move, the guitarist would be better suited to an audience willing to push his superlative talents. One marvels at the inspiration that would drive a musician of his caliber if he were to play for a room full of objective listeners rather than fans who accept every note unconditionally.