(Modern Creative, Post-Bop) [WEB] Jeff Coffin & Roy ‘Futureman’ Wooten - The Moment of Now - 2018, FLAC (tracks), lossless

https://www.allmusic.com/artist/jeff-coffin-mn0000810928/biography
Highly creative, Nashville-based jazz saxophonist and educator known for his work with Béla Fleck and Dave Matthews.
Artist Biography by Matt Collar
Initially emerging as a member of Béla Fleck & the Flecktones, and later gaining wide acclaim as LeRoi Moore's replacement in Dave Matthews Band, saxophonist Jeff Coffin simultaneously established himself as a respected solo leader, composer, and educator. Based in Nashville, Tennessee (where he has lived since the early '90s), Coffin has supported a bevy of artists including Chris Thile, Charlie Peacock, Amos Lee, and the Mavericks. He has also picked up several Grammy nods, including wins with the Flecktones for 2000's Outbound and 2006's The Hidden Land, and a nomination for his Dave Matthews Band debut on 2009's Big Whiskey & the GrooGrux King. He has also earned a following for his own stylistically adventurous albums with his group Mu'Tet. Along with performing, Coffin is a dedicated educator, serving as professor of jazz saxophone at Vanderbilt University's Blair School of Music since 2015.
Born in Massachusetts in 1965, Coffin spent much of his adolescence living in Dexter, Maine where he first began playing the alto sax in the fifth grade. Growing up, he also attended sessions of the Summer Youth Music School at the University of New Hampshire (UNH). By his teens, he was living in Rochester, New Hampshire, where he eventually studied music for two years at UNH before transferring to the University of North Texas. Graduating with his B.A. in Music Education in 1990, Coffin won a grant from the NEA and spent a year studying with Joe Lovano before relocating to Nashville, Tennessee. Since then, he has balanced his time between playing live, recording, and teaching. In 1997, he made his solo debut with Outside the Lines. Two years later, he founded the Ear Up Records label, and released his sophomore album, Commonality.
In 1997, Coffin joined the progressive bluegrass and jazz ensemble Béla Fleck & the Flecktones. Prior to joining the band, he had played with Flecktones bassist Victor Wooten. Over the next 14 years, he toured and recorded with the group, picking a number accolades along the way, including winning Grammy Awards for 2000's Outbound, 2006's The Hidden Land, and 2009's Jingle All the Way. He also appeared on the group's first two concert albums, Live Art and Live at the Quick. While with the Flecktones, Coffin's stature grew, and he became a globally recognized performer with a loyal fan base.
Away from the Flecktones, Coffin continued to pursue his own creative projects, including leading his adventurous Mu'Tet ensemble. Named after the idea of mutation, the group has featured a rotating cast of members including pianist Kofi Burbridge, guitarist Pat Bergeson, drummer Jeff Sipe, bassist Felix Pastorius, and others. With Mu'Tet, Coffin has recorded a handful of well-regarded albums beginning with 2001's Go Round. Bloom appeared in 2005, followed by 2008's Mutopia. Around this time, Coffin left the Flecktones and joined the Dave Matthews Band, replacing longtime saxophonist LeRoi Moore, who had been injured and ultimately died due to complications from an ATV accident. Over the next few years, Coffin toured with Matthews, appearing on a handful of live albums, as well as the group's seventh and eighth studio albums: 2009's Grammy-nominated Big Whiskey & the GrooGrux King, and 2012's Away from the World.
He then returned to his work with the Mu'Tet for 2012's Into the Air, followed in 2014 by Side Up. In 2015, Coffin joined the faculty of Vanderbilt University's Blair School of Music as Professor of Jazz Saxophone. That same year, he paired with longtime friend, saxophonist Caleb Chapman, for the New Orleans-influenced Inside of the Outside, which featured guest appearances from Branford Marsalis, Trombone Shorty, Randy Brecker, and others. He followed with the primarily solo 2016 recording Sometimes Springtime and the 2017 large-ensemble project Next Time Yellow. The holiday-themed trio album, Sleigh What?!, also appeared in 2017. A year later, he collaborated with percussionist Tatsuya Nakatani on Flight, and reunited with the Dave Matthews Band for a summer tour.

https://store.cdbaby.com/cd/jeffcoffin110
The first duo recording for these musical pioneers showcases an indescribable communication between two Grammy-winning longtime collaborators. Captured in one afternoon of recording, this is music in the moment of now.
tune info:
01) Without A (Or)Net [alto sax, drums] 7:52
This was the first tune we recorded and the title is a play on Ornette Coleman’s name. It's a small tribute to his beautiful spirit. Futureman and I had an amazing 6 hour hang/playing experience with Ornette a few years ago and his incredible music and deep humanity continues to inspire us both. The title also has a side reference to another favorite musician of ours, Wayne Shorter, who has a very cool recording called Without A Net. This is pretty free wheeling and was the start of our musical conversation when we recorded. (JC)
02) Chez Bechet [soprano sax, drums] 3:05
Roy said something while we were listening back to this track about Duke Ellington, which made me think about Sidney Bechet and his sound and amazingness on soprano sax. I like the idea of Chez Bechet (The House of Bechet), where everyone has a room to play music and create and express themselves without judgement. (JC)
03) A Little Jungle Fever [bass flute, drums, log drum] 2:24
With the whistles/bird calls at the beginning of this tune, the vibe reminded me of the Amazon or any jungle where you might get a hallucinatory fever. I was thinking this might be the music you would hear in that altered state…Roy added the log drum after the fact and was one of the very few overdubs we did. The bass flute I play belonged to the late, great woodwinds master, Yusef Lateef. I always tell people it’s still his even though I am in possession of it. I love the sound of this instrument! (JC)
04) Homecoming [tenor sax, piano, drums] 2:27
This is a piece I wrote post Dave Matthews Band summer tour and after my wife and I watched a Charles Lloyd documentary called, Arrows Into Infinity. Charles has long been an inspiration to me and I love that his wife, Dorothy Darr, has made some incredible films of Charles and his cohorts. This piece kind of fell out of the quiet after we watched the documentary and was written on the very vibey piano in our living room. I ended up overdubbing the piano at a studio down the street because I don’t have an acoustic piano in my studio. On literally 10 minutes notice! (JC)
05) Leaning Forward [drums] 0:59
With this little solo I was thinking about the energy of Tony Williams and the way he was always leaning forward into the drums with so much spirit and commitment...I am inspired by Tony's creative solo recordings and the way he would push Miles Davis and the Miles Davis quintet tempos faster and faster, with great emotion, power and clean technical precision...To go forward we are all indebted to the achievements of the past. "Leaning Forward" is dedicated to the creativity and enthusiasm of Tony Williams, along with all of the drummers that he built upon and all of those that he inspired...(RW)
06) Here Comes The Man [tenor sax, drums] 5:03
We did an interesting thing with the mix on this tune…we muted all of Roy’s tracks until a certain point in the tune and then faded him in over a long period of time. But, since we were in the same room, you can hear the ‘bleed’ of the drums in my mic but it’s really subtle. After drums fade in they are full on until the end of the tune. Here Comes The Man actually refers to Futureman and the fade in of the drums. The ‘slap tonguing’ at the beginning of this is a cool, tonal, percussive sound on the sax and sets up a nice vibe for the tune. (JC)
07) Smells Like Trouble Ahead [tenor sax, drums] 6:09
This is a tune I originally wrote for some of my students at Vanderbilt University in early 2018 for their improvisation group. I decided to bring it in to play and it really turned out great. The melody is very free and vocal-like and the improvisation is based around the melody with our musical dialogue surrounding it. And, I like the idea of being able to ‘smell’ trouble ahead! (JC)
08) A Knock At Midnight [alto sax, drums, log drum] 5:12
This solo is channeling a short story idea about a pivotal knock at the door. One of my favorite speeches by Martin Luther King Jr. is called "A Knock At Midnight" My main drum theme has a repetitive knocking on the door feeling which also makes me think of Beethoven's repetitive use of a door knocking theme. Beethoven referred to the pivotal knocking figure of his 5th Symphony as "Thus fate knocks at the door", which was then called the "Destiny Symphony." So...What if Fate came?,... perhaps at midnight?,... knocking at your door?, ... to shed light on your destiny?,.....Would you answer the call?, ... Knock Knock? (Roy)
09) Waxing Brasilian [flute, drums] 3:29
Futureman laid down a seriously cool groove on this tune and what came out loosely reminded me of some of the Brazilian music I’ve heard over the years from Carlos Malta, Hamilton de Holanda, Hermeto Pascoal, and others. The music is all about the dance in Brasil there no matter how complex or simple and I seriously hope that idea spreads around the world…(JC)
10) Who’s There [drums] 1:57
This solo presents a response to the unknown knock at the door which started the earlier "A Knock at Midnight" drum solo. The great Mythologist Joseph Campbell wrote that our lives travel a familiar pathway known as "the hero's journey". This Journey approaches each one of us as a "hero" with some kind of "calling", "challenge" and/ or "knocking" at the door of our destiny, where we can either begin to answer or begin to refuse the call. This drum solo represents an enigmatic dialogue that begins with "Who's there?" (Roy)
11) Velvet Like Elvis [bass flute, drums] 1:26
The sound of the bass flute to me is very dark and very woody and has a smoothness to it that for whatever reason made my brain compare that sound to a velvet Elvis! The bass flute is tactile and I get a particular vibration in my fingertips when I play it that feels like I’m touching velvet. I like to think that Elvis might have dug this tune while sitting back on the couch just listening. (JC)
12) Scrambling Eggs [tenor sax, drums/cymbal] 5:20
This was the last tune we recorded and Futureman came up with an incredible sound with a Sabian Ozone cymbal off of a floor tom and it became a focal piece of the tune. I think he surprised himself a little with the way it sounded. I tried to play around what he was doing and take more of an accompanying part to his playing in places. Roy & I remember hearing Wayne Shorter talk about someone describing an improvisation as someone ‘scrambling eggs’ and we both the analogy, hence the name. Thanks Wayne! (JC)

Jeff Coffin - soprano, alto & tenor sax, flute, bass flute, piano, whistle
Roy 'Futureman' Wooten - drums, log drum