I'm about to discuss a performance of Say Si Si, which Tuba Skinny were playing at the dba in New Orleans. But first I must thank David Wiseman, who was there to video it for us. David sent me his video, allowing me to upload it to YouTube. You may watch it by clicking on here.
Conditions in the dba are noisy and crowded. Filming is difficult. But David did well by getting close to the stage. He did more than that - something very unusual: instead of trying to show us the whole band, he kept the focus on Shaye Cohn.
So this video is perhaps unique in that enables us to study close-up exactly what Shaye does throughout an entire tune.
As so often, Tuba Skinny seat themselves in an arc. They have taught the world how much better this is - for audience and band members alike - than having a 'front line' with a 'rhythm section' behind it. It is easy, for example, for Shaye to catch the eye of any of her colleagues and with the slightest signal let them know what she wants them to do.
So let's work through the performance.
As usual, Shaye starts by hearing the tune inside her head and testing with her right foot the tempo that will be perfect for it. When she is happy with this, she counts the band in: 'One! Two! One, two three, four'!'
The band plays an agreed four-bar Introduction and then launches into the First Chorus (at 13 seconds). At the end of this chorus, in which Shaye states the melody fairly simply, she indicates to Craig (by leaning towards him at 50 seconds) that he is to take the lead in the Second Chorus. But while he does so, she does not take a rest (as most trumpet and cornet players would) but instead decorates his solo with pretty and delicate backing, mainly using the lower notes. As Craig finishes, Shaye leans towards Charlie (1 minute, 28 seconds), indicating that he is to take the Third Chorus. Again, Shaye does not rest: she plays long harmonizing notes to support his solo, encouraging Craig to join her in doing so.
Notice her flicking finger signal to Jason at 2 minutes 06 seconds. She is telling him she wants him to trade phrases with her in the Fourth Chorus. That's exactly what they do - first with eight bars at a time, and then four. The bars she plays are fine examples of the creativity we always associate with her.
At 2 minutes 43 seconds, a mere glance at Todd is enough to tell him he is to lead in the Fifth Chorus. As he does so, Shaye establishes a simple harmonizing riff behind him - a riff in which she is quickly supported by Craig and Charlie. Shaye seems to enjoy the fun of doing this: at around 3 minutes 09 seconds, we see her smiling even as she plays!
As Todd's Chorus ends, she indicates with a finger raised and a twirl of her cornet (3 minutes 19 seconds) that there is to be just one more Chorus and that she wants everybody playing.
So the Sixth Chorus finds everyone letting rip, Shaye herself improvising in the most exciting way with some lovely runs around the melody. She ends the tune, as so often, snappily on the third beat of the 32nd bar.
Just for a micro-second (at 4 minutes 00 seconds), it seems as though she might play one of those cornet-led 2-bar codas that she sometimes throws in. It is as if the idea fleetingly crosses her mind. But she immediately rejects it.
I think it was judicious to do so. She knew the ending was perfect as it stood and needed no further embellishment.
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The book Tuba Skinny and Shaye Cohn is available from Amazon.
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The book Tuba Skinny and Shaye Cohn is available from Amazon.
