XO Brass: A Conversation with Musician Tim Coffman

What inspired you to pursue a career as a musician and an educator?   

My degrees are in music performance, so I wasn’t thinking about doing any teaching.  When I got back to Chicago after being a student at Indiana University, I kind of fell into some teaching opportunities.  I quickly realized that teaching would help out my own playing.  Even if you’re teaching trombone lessons to a middle school aged student, you have to figure out a plan for them.  It forces you to think in a more organized way about the process. 

I have always loved to play my trombone, even as a young kid. I couldn’t imagine (and still can’t) doing anything else for a living.  It’s not easy, but I have been fortunate to do this for over 35 years.  I was also very fortunate to have some great music teachers and mentors along the way. 

What was it that first called you to jazz music?  

I like playing all kinds of music, but I do like playing jazz the best. I was knocked out when I heard my first jazz trombone recordings in middle school and high school.  JJ Johnson, J and K (JJ Johnson and Kai Winding), Bill Watrous, Carl Fontana, Curtis Fuller and so many others. I couldn’t believe what I was hearing.  I didn’t know what the trombone was capable of. 

Also, when I heard the band Chicago and James Pankow.  That band has jazz elements and of course, a great horn section. It amazed me that a band like that had horns, including a trombone...and the trombone player took cool improvised solos.  I was hooked.  

For students and musicians interested in pursing a career in jazz, are there any unique things they should be aware of?  

If you’re a hardcore jazz player, only working on improvisation, it can be easy to forget about the other important stuff, like playing in tune, blending in a section, keeping your chops in shape and your technique at a top level, and of course, sight reading is incredibly important.  Often there’s no time for a rehearsal and you’ll be sight reading most of the time.  You won’t get called to play much of anything if you don't sight read well, no matter how well you improvise. 

Also, trying to be a leader and actually booking a gig for a client or trying to book your band at a jazz club.  It’s very difficult.  It’s good to ask lots of questions and get advice from older players.  It’s important to learn about the proper protocol. 

Any guidance on how to make a career as a musician successful?

The first thing is to have patience.  My trombone professor at Indiana University, the legendary Keith Brown, gave me some great advice.  Mr. Brown had played in the MET in New York and then in the Philadelphia Symphony Orchestra under Eugene Ormandy.  When he was living and playing in New York and in Philadelphia, he was also free lancing.  When I told him I was going to move back to Chicago after finishing college, he told me to wait five years before getting calls for a bigger, more high profile type of gig.  I got my first call for a TV/Radio commercial.  I was sitting at the session realizing I had been in town about five years and realized Mr. Brown was right!  It takes a while to establish relationships and connections to other musicians and contractors.  You’re in it for the long haul. 

Other advice would be the same as for any other career.  Show up on time (which means be early), be prepared, look nice and presentable, be nice to everyone and be nice to work with, answer any correspondence in a timely manner, be respectful. 

It can be difficult overcoming hurdles in this profession, especially when it’s something you care so deeply about.  It’s very easy to doubt yourself, and compare yourself to other people.  You and your career are a one of a kind type of thing.  It belongs to you and only you.  It will change and evolve over time.  Again, you’re in it for the long haul.  Keep working on your craft and things will take care of themselves. 

One final piece of advice is to join the American Federation of Musicians.  It’s the Musician’s Union.  You have to be in the union to get the highest level of employment and to keep the scene of whatever city you’re living in healthy. 

Any stories to share about some of the amazing performers and teachers you’ve worked with throughout your career? 

I have been fortunate to have performed in many wonderful concerts with some amazing musicians.  It’s hard to pick a single performance, but one that stands out is playing with the Chicago Jazz Ensemble with special guest Slide Hampton.  Jon Faddis was our conductor then, and he was a close friend of Slide.  Slide did several commissions for the band. I was always in awe of Slide.  For this performance, Slide did a suite called “Suite for Africa.”  It was several movements long, had french horns, and was incredible.  Slide was conducting the first rehearsal of the piece, and I got to play a solo in front of Slide. I was scared to death.  I was trying to get Slide to play the solo!  He was always very nice to me and was encouraging. 

I’ll never forget one of the gems he told us during the rehearsals for that performance.  We got to a very dissonant chord with a fermata, a very dramatic moment during that movement, and he stops us for a moment and tells us: “95 percent of the audience doesn’t know anything about music, and you have to give them something.”  The next part of the piece after the fermata went into a very straight ahead swinging section.  It was a classic example of tension and release, and anyone would have enjoyed it and been moved by it.  Any time I’m programming music, I always think of that great lesson from one the jazz masters.

I mentioned earlier that I have been fortunate to have many teachers and mentors who have really helped me and inspired me.  One in particular that I’ll mention is the legendary David Baker.  He was the head of the jazz studies program at Indiana University and is one of the founding fathers of the idea of a jazz studies degree.  David was brilliant, incredibly hard working and dedicated to the craft of playing and teaching (he seemed to know everything about any subject), and he was very kind and nurturing and hilarious.  He also knew when to be tough.  He had great people skills and got along with everyone. He was such an incredible mentor to so many people.  I think of him every day. 

What makes XO Brass instruments unique? 

The Jupiter and XO Brass instruments are very high quality and anyone can benefit from playing them. The XO Brass instruments are the professional level instruments and they would be more for an older, more advanced player. The XO Brass trombones that I play sound great, are very responsive and easy to play. The notes slot well, everything is in tune and the nickel silver slides are super fast. 

Why is customization so valuable when it comes to brass instruments?  

Everyone is different. We all have different embouchures, sound concepts, different types of music we’re playing, etc. and it’s important to figure what works best for you. 

Interested to hear more from Tim and XO Brass?  Join Tim and PM Music Center for our XO Brass Interactive Clinic, scheduled for May 9th!

This session is designed to help you strengthen your sound, improve air support, master mouthpiece buzzing, and build flexibility with lip slurs.

You'll explore articulation, technique, range, posture, and practical practicing strategies, plus tips on caring for your instrument.  This free clinic is open to brass players of all levels and ages who are looking to level up their brass instrument and sound.  Don't miss the chance to work directly with Tim and take your playing to the next level!