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Let's see some videos of tuba or sousaphone players with some really great stage presence!

Or are we in worse shape than the rep bass players get?

Here's the best example I can think of: Nat McIntosh playing The Warrior Comes Out to Play:

https://www.youtube.com/watch?v=s1Gx_Yq9534" target="_blank

Who can one-up him?

I found another one but as it turned out it's the same guy, Nat McIntosh. Just a little better quality.

https://www.youtube.com/watch?v=MypmT0kwBR0

It depends on the music. Nat has presence, because that's all part of the schtick. It wouldn't make a lick of sense for him to sit in the back corner and play crazy bass lines like that.

I didn't click on the above links, but I seem to recall some performance a number of years ago where Nat was playing in front of the U of Wisconsin marching band in some concert hall (presumably his alma mater). I'm sure it was fun for him and them, but for me, watching it was a jump the shark moment. I followed Youngblood before they were cool. Then it was just schtick and I wasn't interested anymore.

A different presence.... I'm sure when Bill Bell went on stage, people noticed.

Sam Pilafian when playing with Travelin’ Light had wonderful stage presence.

Is the low brass section supposed to move with their half notes?

bloke wrote:90% of ALL live music is visual, and the musicians (not comically, and not to end up having detrimental effects on execution, but) should be MOVING with the music, as it is engaging to the audience - if not to the musicians themselves...

This is why I'm asking. I have been making tons of videos during the lockdown, and I've noticed when I play bass, I have a lot of visual movement and stage presence like bobbing my head, moving with the beat, "bass face," etc. With tuba, even when I'm standing, there's not much happening visually. Since you can't really smile, you lose a ton of stage presence from that alone.

Of course I'm not talking about genres where it's "not important," but even then, like you said, our audience hears with their eyes. Before I had decent chops on bass, I was still getting audience members come up to me and say it's "obvious" I'm the best musician just by watching me play (ha!).

While Pat Sheridan, Sam Pilafian, Bob Stewart, Dave Bargeron, etc. are incredible musicians, they didn't really do much. As tuba players, of course we recognize and appreciate them, but I guarantee Nat would be considered the "better" player by people who don't recognize tuba-famous musicians on stage, everything else being equal.

Besides that, Nat isn't always visually engaging, and there's plenty of videos where he's just not moving much.

Come to think of it, Øystein Baadsvik might be one that's closer to the top of this list...

You know, I've never spoken of this before because it embarrassed me beyond words. In 1984 I was at New England Conservatory and had to take a "Movement" class. Someone played piano, and a bunch of macho teenage brass players had to prance around the stage. In the long run, I think it does help to be able to use body motion to help express music, although it's easy for some people to get carried away with it.

Sam Pilafian's eyebrows were very memorable for me. I always thought he reminded me of Snufalufagus (the Mastadon-looking character from Sesame Street.)

Does doing the "King spin" count as "stage presence"?

If so, count me in

Movement is a big help, and this guy is amazing at it https://youtu.be/hcDdvG7sz_o. He’s a bit more subdued in the video than when I saw him while working sound; the whole band’s dancing made me glad I was liberal with the gaff tape! I noticed he had a wireless mic rig into a big bass amp rig, which probably helps make a big sound while saving breath. On the acoustic side Øystein Baadsvik does a lot with eyebrows and facial expressions.

Taping an umbrella to my sousaphone and dancing in the rain works for me...

Thanks!

I'm beginning to think a sousaphone really does help the visuals. My standing/strolling gigs are done on a Conn 12J; I'd love to get a sousaphone or helicon, but am reluctant with the current situation.

I did just notice this guy, DanJazzy: https://www.youtube.com/watch?v=nEPk95DV5yw" target="_blank ...though I feel he's more of a memer than a performer. But he does have a very decent following.

BopEuph wrote:With tuba, even when I'm standing, there's not much happening visually. Since you can't really smile, you lose a ton of stage presence from that alone.

One of the great electric bass players, Jack Casady (Jefferson Airplane), had an eyebrow thing going on, that I think you could notice from quite a distance.

cktuba wrote: That 'stache alone is stage presence. Unfortunately I can't get a good seal on the mouthpiece with lip hair. So maybe this is the direction those of us that are similarly handicapped need to go?



That and liederhosen...

Finally a use for all of those 3D printers out there!

Michael Grant wrote:Sam Pilafian when playing with Travelin’ Light had wonderful stage presence.

Agreed. Great overall stage presence. Iirc, it was the late 80s when I attended an Empire Brass performance from the front row of a small auditorium. Pilafian MC'd and was very engaging, but appropriately graceful - he didn't steal the limelight except when he was featured (I remember, in particular, him stepping forward during Sweet Georgia Brown), and then he really hammed it up, and he was fabulous at it. Amazing playing, too, of course.

No one has mentioned Mnozil brass. They are all top notch musicians of course, but stage presence is the name of the game with them.

Honestly, the only tuba player to come to mind is Chuck Daellenbach of Canadian Brass. I am well aware of the shtick that's just part of their concerts, but that's stage presence nonetheless. He's engaging. He looks happy and like he's having fun. There's energy there. Some of what he does in live shows just seems to be goofy nonsense but when you step back and really consider his role in his ensemble, it all makes sense and, to me, adds up to stage presence.

I've always thought of stage presence as being able to be out front looking happy and proud to be there, exuding confidence in what you're doing (seeming in control of the situation) but without being flashy or distracting. Looking engaged, not cold and distant; focused but not too serious. Emotional and perhaps grateful but without being self-indulgent. Stage presence is not just a function of being a soloist, but that's still what comes to mind when I think stage presence. Most of us are just band and orchestra tuba player that sit in the back and are rarely seen out front. However, all of those things can be incorporated into that kind of situation, too, with a little thought.

Tuba aside, I don't think I've ever seen better stage presence anywhere than in trumpeter Ryan Anthony. He just has it. I could go on and on with adjectives about that, but seeing it is the best way to explain it. Those that don't know him and haven't seen him would do well to at least find a video of his playing. Doesn't matter if it's Canadian Brass, solo trumpet & orchestra, pop, jazz, church music...whatever...he just has it. Watch a video and you'll see what I'm talking about. Oh, and he's a damn good trumpet player, too

Wish someone had a picture of the guy who used to play in Pittsburgh; he apparently used a huge gantry to hold his instrument onstage so that he could play *standing up* at the back of the orchestra. Something having to do with Alexander technique.

Now THAT'S 'stage presence'.

UncleBeer wrote:Wish someone had a picture of the guy who used to play in Pittsburgh; he apparently used a huge gantry to hold his instrument onstage so that he could play *standing up* at the back of the orchestra. Something having to do with Alexander technique.

Now THAT'S 'stage presence'.

Sumner Erickson

In my world, there are those who can present, and those who can't. Being able to present is necessary for everything from teaching to sales (though other talents may also be required in addition).

I do a lot of training (well, not so much since March 11), and I also observe other trainers for certification as required by the accreditation organization that governs the training done by my agency. In every case, the issue where even good trainers need help is owning the room. In my conversations with them, I describe it as projecting their personality envelope to encompass the whole room, not just the front row or the few active attendees. Musicians must be able to do this, of course, and it's also wrapped up in the differences I always described between "principals" and "section players". Tuba players may not be asked to perform the kind of melodic or technical music that the typical violinist sees routinely, but they are expected to own the room with what they do, at the very least as a unique point of color and power. The middle-of-the-row third violinist is expected NOT to stand out.

Rick "stage presence is about what happens away from the stage" Denney