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"And then as we played more and more as a trio, it became more and more of a situation where we realized we really knew how to use the fourth member of the group - that space. The thing about the trio is that it's the biggest sound you can have with the smallest unit."
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"Sound.Noisethe air employs.Melodies sweet.Tweet, tweet, tweet.Soft. Loud.A roaring crowd.Cluck. Caw. Crow.Tet, tet. Tis, tis.Guttural growl.Harrowing howl.Drip, drip, drip.Tap, tap, tap.Moan and groan.Endless drone.Ding, dang, dong.A church bell song.Vibrations in my earto hear.Sound."
"Sounds travel through space long after their wave patterns have ceased to be detectable by the human ear: some cut right through the ionosphere and barrel on out into the cosmic heartland, while others bounce around, eventually being absorbed into the vibratory fields of earthly barriers, but in neither case does the energy succumb; it goes on forever - which is why we, each of us, should take pains to make sweet notes."
"I think I have a basic sound aesthetic that is in most of what I do."
"When there is an original sound in the world, it makes a hundred echoes."
"It's very important to go through periods where you sound just rotten and you know it, and you have to persevere or give up."
"It couldn't sound like a dog, because K9 isn't a dog, but I made it sound as mechanical as possible."
"It's not about how loud you turn the amp up. That's not what makes it sound big. What makes it sound big is fooling around with different delays and reverb settings."
Explore more quotes by Charlie Hunter
"But I've come to the point in my evolution on the instrument where I realize that I can't play the same stuff that just a guitar player or organ player would play - and I need to embrace that in a big way."
"But I just think we've got such a continuity with what we're doing that most people come in and fill in the blanks. And sometimes we leave a lot of blanks to be filled."
"So it's really hard for a horn player to comp. But I'm totally into trying to switch those paradigms around and find a little magic space where that works, and try to mine that."
"Bobby is really the one who did all the editing on that stuff. And he did all the mixing. I particularly like the record we did with Logic because Scott Harding did a great job mixing it. He's really a killing engineer."
"Everything we did, we did live - and then Bobby took it home and chopped it up and edited it. Which is pretty much what they did with every jazz record you've ever heard."
"Ultimately, at the end of it, it's just trying to get into that space where you feel like you're hitting the right thing and you're making music. And it feels intuitive rather than being counterintuitive."
"Yeah, well, it did earlier - but as Bobby and I have played together, our thing as a unit has become so strong that they kind of had to get in where they fit in. And most people do."
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