The free nature of jazz — where, by definition, improvisation and reactive sonic ricochets are ongoing — must have made it particularly difficult during the pandemic for the musicians who feed off such interaction.

"I stayed busy musically," says saxophonist/clarinetist Cedric Mayfield, leader of the jazz quartet Epitome, performing Saturday at the Hygienic Art Park. "But most of that time I was playing with software. There's a significant difference between that and playing live with other musicians because jazz is a very communicative art form. It's a good, good feeling — a wonderful feeling — to play with and for people again."

Along with Mayfield, Epitome includes drummer Nathan Lassell, bassist Mark McCormick and pianist Robert Langslet — all also current or former members of the United States Coast Guard Band.

With restrictions easing, Epitome is finally getting a renewed chance to introduce audiences to "Appreciation," their 2017 album that features a variety of richly curated tunes like "Cry Me a River," Charlie Parker's arrangement of "Cherokee," the theme from "You Only Live Twice" and even the Stylistics' "People Make the World Go Round." This diversity — and Epitome's ability to place their own identity on the music — is further on display live, when they might go far and wide with original songs and everything from traditional jazz and Stevie Wonder to Coldplay and "Sesame Street."

"Because we do have recorded material, we definitely make an effort to share that in performance — to convey the excitement we felt making the album," Mayfield says. "But another aspect to that is the importance of the energy we get from audiences as well. The set we play at the Hygienic might be considerably different from what we do in a few weeks at City Pier in New London. That makes it fun for us and the audience."

Down time

Mayfield emphasizes he and his colleagues in the Coast Guard Band were far from idle during the epidemic. In addition to his homebound experiments with software, Mayfield was busy helping the Coast Guard Band fulfill its mission despite the challenges.

"From our vantage point, we in some way, shape or fashion kind of survived throughout the pandemic in a positive way," Mayfield says. "We had the great fortune to still do projects because we made an initiative to provide content for the web and make our music and performances available to the public in some capacity."

Indeed, on an almost weekly basis, the USCG Band presented pristine live recordings of past concerts across a wide thematic and stylistic spectrum. "It was a great way to stay in touch with the music and connected with each other," Mayfield says.

But while it was at least somewhat creative to work on the virtual concerts, it was also frustrating.

Not what you trained for

"It was gratifying, but, at the same time, we weren't playing in the fashion we're used to," Mayfield says. "To not play or rehearse with other musicians is tough, particularly if it's something you've done from junior high bands on. A lot of people don't realize we all began training on our instruments at a really early age – rehearsing, performing, recitals, advancing step by step — with the express purpose of becoming professional, working musicians.

"A lot of artists suffered depression because it's been your whole life and artistic passion — and then one day it's all shut down." Mayfield pauses. "I was talking to some Broadway dancers, and they shared similar stories. And I'm not suggesting it was just artists. Obviously, it's something the world is going through. But to be told by the Coast Guard Band to get out and play in the smaller units is beautiful."

Indeed, one of the interesting things to emerge from the shutdown is that the Coast Guard Band is actively suggesting their smaller ensembles such as the Dixieland Band, their Chamber Music Ensemble, the Big Band, as well as "civilian" offshoot/side projects like Epitome, should hit stages.

"The reality is, COVID is still around," Mayfield says. "At least for right now, we're trying to ease our way out of restrictions and sharing performance spaces with audiences while observing safety protocols. The smaller units make sense, and it's easier to take advantage of the opportunity to perform live."

Mayfield says, "We're playing together again, and while it took a little to regain our legs, so to speak, it was interesting and fun to play with people again. In Epitome, the four of us have played together so long and in so many situations that it was just a wonderful thing to be back in the same room. And to play FOR people just makes it more special."

Epitome, 7 p.m. Saturday, Hygienic Art Park, 79 Bank St., New London; $10; hygienic.org.