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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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"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."
"When we started the band, it was because we were waiting for a sound that never happened. We got tired of waiting, and we decided to just do it ourselves."
"Most bands have a sound that they're already identified with, so for the producer it becomes a process of helping them find their muse in the studio to make a record that will not only satisfy them artistically, but will also do something in the marketplace."
"Locations are all tough, all miserable. I never left the sound stage for 18 years at Warners. We never went outside the studio, not even for big scenes."
"The one thing you don't want is that stale sound when you've done a line so much you can't find a fresh approach to it. Drop it."
"That's the thing I like about my sound. It's real raw and very unsafe compared to a solid state kind of sound."
"All the Frank O'Hara types seem to have very little sound stuff going... it's so chatty or something."
Explore more quotes by Charlie Hunter
"Yeah, it's more like playing what you think is appropriate for the moment. It's not about trying to force any particular style within the parameters - and the parameters we play in are pretty large!"
"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."
"It's just a way of trying to get to a third thing that's not particular to any quote-unquote genre. It's been great for me; it's really opened me up and gotten me to use that part of my imagination. It's very scary in a lot of ways, and just as exciting."
"If we really wanted to be cool, and everyone in the world had Pro Tools, we could just put it up on the internet and everyone could make their own record out of it."
"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."
"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."
"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."
"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."
"I mean, in the course of an evening, people will take a solo here and there, but generally it's all about the rhythm of that music. Dealing with the rhythm with everything. That's essentially at least my concept of what that group is."
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