By Mike Brannon

"Everything we do is choice, and I choose to play music". An apt response from saxist/composer Jeff Coffin of Bela Fleck and the Flecktones, a band recognized for their virtuosity, sense of musical humor and for counter-navigating trends and attitudes Nashville musicians are supposed to, even expected to adhere to. Flecktone's newest member is a proponent of change and following both personal vision and truths regardless of circumstances.

Coffin's first release, "Commonality" was recorded in Nashville but you'd never know it, especially if you hold the attitude that only country music derives from that city. Niether would you know that this is the music of a member of the Tone's. Its all acoustic trio jazz and digs deep into pockets of groove and originality and carries the listener to points left of both the dial and the norm. And yes, its well worth the journey.

The list of artist Coffin's preformed with is an eclectic who's who of the music industry and includes...Springsteen, Sheryl Crow, Dave Matthews, Don Henley, Van Morrison, Bruce Hornsby, and the incomparable Branford Marsalis.

His attitude about performing might be best be expressed by comments refering to "Prayer", a tune on "Commonality", in which he states that, "music can, in its ideal space, be about thankfulness". Its worth noting an anecdote a performer once related: that he ended every performance with prayer because it could be the last perfomance he might ever do. Why not make it the best one you possibly can?

He further elaborates on his philosophies, "I believe that everything is a vibration at its root and therefore, everything is connected with everything else...commonality". At its essence; its common denominator, its true, and his knowledge brings us closer to music and as such to its understanding and of each other. A truly remarkable attitude and potential. Just knowing a door exists is often all thats needed to find it and pass through its frame...and on to the next generation's contributions.

Though in trio acoustic format, everything from a New Orleans vibe to hard swing, and even funk are stylistically visited, confirming that being electric isnt required to authenticate the styles associated with it.

"Ive tried to be aware that music should invoke something in its simplicity and with the melodies, rhythms and harmonies it explores. I wanted to explore some areas compositionally that were influential to my playing, listening and writing".

To approach what you do, whatever it is, with the attitude that its able to bring people closer to a mutual understanding is itself worth investigating. When we get the chance to see and hear someone perform their art with this intent in mind is something altogether more important. After all, we never know where it is we're going to hear the advice or experience the catalystic elements that transform our own lives for the better. Longer shots certainly exist than seeing Coffin's band perform. I'd recomend it and the new disc, "Commonality".

MB - So, what are your plans as far as tour support re: the disc? where and when...

JC - I'm planning on doing some limited touring between the Flecktones tours. I'm right now in the process of getting things together to send out packages and promo info to set things up. There's a lot of work involved with getting things off the ground. I enjoy it though. As far as where, I've sort of sectioned off the US by areas and I'll try to concentrate in those spaces for each tour. I really love the Northeast and West coast (upper) so I'm going to try to get some of those places together. As well as Chicago an the like.

MB - This is your first solo disc..what did you want to say or project with it?

JC - I guess that have a two fold thought on this. The title of the CD "COMMONALITY" suggests, to me, that all things are connected and that as people we can see these ties if we look. It's easier to be blind to them because we get to blame other people for things that occur in our society. Violence against each other, including women, children, minorities, poor people, rich people, etc... I think that if we take the time to look at how much our actions affect other lives we would be a little more conscious about the things we say and do. The music, I think, speaks for itself better than I can speak for it. I just wanted to present good music with high level playing, writing and improvising. Not "jazz" per say but high level music that hopefully can transcend some labeling barriers.

MB - Can you give some background on your development, influences and choice of the sax over other instruments?

JC - Well, I wanted to play drums... really. When I was in 4th grade (or 5th) I started in school band in Dexter Maine. The director asked if I would play sax and I said sure. That was basically how I started. I was playing professionally with my director when I was in 7th grade thru 8th grade when we moved to New Hampshire. It was a great learning experience for me and I'll be forever grateful to him. We still keep in pretty close touch too. As far as influences, I try to be influenced by everything I'm in contact with. My life. I try not to separate my music from my daily life experiences. Musically, I am influenced by so many. Coltrane, Ornette, Dolphy, Miles, Cannonball, Albert Ayler, John Gilmore, Sun Ra, Bird, Sonny Rollins, Lester, Coleman Hawkins, Ravi Shankar, Hariprasad, The Beatles, pop music, ethnic music, Flamenco, Indian, African, etc... I try to stay open in order to grow. There is a lot of fascinating music out there. I'm only scratching the surface.

MB - Why is the concept of commonality such an important aspect in your recording and approach? where did this come from?

JC - Like I mentioned before, I think all things are connected. There is a book called The Bhagavad Gita (the Gita for short) which is an Indian holy text. It has influenced my thinking in many ways. It talks of that connection between things and people and events and thoughts. The Autobiography of a Yogi, The Autobiography of the Dalai Lama, The Conference of the Birds, the Bible, all these books talk of this thought as do many poems and myths through the ages. It seems to me to be a reoccurring theme in life. It's really very interesting.

MB - Can you discuss the experiences of playing w/ Bela, Branford (how that came about), Sheryl Crow, Dave Matthews etc...and how those experiences affected your playing and conception?

MB - Playing with these people has taught me a lot about professionalism and the experience of being ready to do what is needed at almost any given time. Sometimes you only get an opportunity one time so you have to be ready, not just musically but mentally as well. Playing with the Flecktones has been a amazing experience. They embraced me from the word go and were very patient while I learned how to fit into their situation while at the same time they allowed and encouraged me to bring myself to their sound as well. These are unique musicians and I think some of the greatest I have ever had the honor of being around. Just the way they think and conceptualize music is beautiful. They all continue to grow and develop musically and personally all the time. They are all an inspiration to be around. The Dave Matthews situation was, of course, very cool. It was like the stuff we all dream about when we're growing up. Playing in front of 50,000 people and looking out over the vastness. Standing up there with those guys was a pleasure that is hard to put into words. They are all great musicians and they play their asses off. Such great energy and ideas. They're strong. Branford's thing was something that just came up one night here in Nashville. He was playing and found out I was playing with Bela and asked me to come up and play. That is one of the highlights of my playing career so far. To stand up there with those guys playing acoustic trio music. I learned that night that it was right if you feel like you can fall backward into the moment and feel like you're supported on every side of your being. That's what it's like with the Tones too. I've been very fortunate in getting to play with so many wonderful people. I still grow from those experiences to this day.

MB - What did NT and studying w/ (saxist Joe) Lovano impress upon you?

JC - North Texas showed me how many great musicians there are out there. It also impressed upon me the need to be prepared. I realized that it wasn't the school's job to get me ready to be a musician, it was up to me. I also realized that school isn't the beat all end all. There is a lot more to being a musician or educator than just getting a degree. I could go on this subject for a long long time. But I won't. As far as studying with Lovano, I think that Joe has helped me in so many ways. He is a profound cat. Even the simple things seem very thick with meaning and it takes a lot of time to assimilate some of these things. Like, as a soloist, trying to be the whole group at once. The time of the bassist, the harmonic richness of the keys, the rhythmic diversity of the drums, and the sound and linearness of the sax. It makes a lot of sense but it isn't always easy to implement. Also, Joe said that he puts brings everything to the table when he plays, meaning that he pulls from any and all of his influences. There is no division between say Dewey Redman and Lee Konitz. It all has to do with music and having that much vocabulary to work with, Joe is like Hemingway.

MB - When you compose, what are some of the ways you go about it?

JC - I close my eyes, hold my breath and right before I pass out I come up with something clever. Actually, I have a couple of different ways I compose. Sometimes I'll find a riff on the horn that I like and I'll develop it over a period of time until it works for me. Sometimes I'll sit at a piano and work stuff out there. It really varies from tune to tune. Sometimes when I play another instrument I'll come up with ideas I wouldn't have come up with on the sax. I love the process of composition.

MB - Have you taught?

JC - Yes. And I continue to teach when I'm off the road. I also work some at the Nashville Jazz institute, which just recently opened up here in town. I actually have my degree in education from the University of North Texas. I enjoy the process of sharing information with people who want to learn it. I try to teach in a way that helps the player to develop their own thing. I try come at it from many different angles. I think that's the best way to do it. I'm also in the middle of writing a book for the saxophone. It's a practice book that has a lot of exercises to help with technique and harmonic and rhythmic ideas. It may be a year before I'm done with it but it's fun to be doing it.

MB - Do you have any specific spiritual beliefs which you feel have helped you?

JC - I think that the feeling of being connected to everything is something that helps me. I try not to judge people also. Sometimes I'm better at it than at other times. I think that trying to be a good person is a lot to accomplish and I strive for that. As far as anything specific, I don't usually share that information because I think it is a very personal one on one thing that shouldn't really make a difference to anyone anyway. I think that our relationship with whatever greater power we believe in is personal and should probably stay that way. Too many people have been persecuted and killed because of what they did or didn't believe. I think that we should try to accept people and their beliefs with an openness that can foster understanding rather than a narrowing due to ignorance.

Its always great to see an artist think outside their own box or realm of existence and reach out to the world and show awareness and interest in changing the injustice they see in it. There is nothing compelling any of us to do this, not monetary gain, fame or fortune of any kind, so those of us who do are the exception not the rule and are to be well appreciated for it. In so doing they express the unspoken: that music is more than sound - pitches changing over time - it is an expression of Life, an added incalculable dimension, and what would it be with out it?