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Charlie Hunter

"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."

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"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."

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"The greatest teacher I know is the job itself."

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"We always admire the other person more after we've tried to do his job."

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"Universal was absolutely marvelous about sitting down with me and listening to my input. It wasn't something where they chose a bunch of songs that were best sellers. They did a marvelous job on the packaging. It's a beautiful tribute."

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"All leaders share something in common. They feel they are the only ones who can do the job."

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"Sure it's a big job; but I don't know anyone who can do it better than I can."

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"I got an agent. He said, what do you wanna do, and I said, I want an Oscar nomination. That's your job, that's what I'm paying you for. And I got it."

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"The unions still have a job to do, representing their members' interests to governments and parliaments. And I think collective agreements still have a role, alongside markets and laws."

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"It's my job to really commit myself to the material and the project and be proud of what I've done, and I am in most cases."

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"Not to sound too pathetic, but there have been long stretches where I haven't been able to get a job."

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"It's extremely difficult to get these jobs because you can't get a job on a ship unless you have seaman's paper's, and you can't get seaman's papers unless you have a job on a ship. There had to be a way to break through the circle, and he was the one who arranged it for me."

Explore more quotes by Charlie Hunter

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Charlie Hunter
"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."
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Charlie Hunter
"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."
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Charlie Hunter
"That's the exact concept behind the music: to take that kind of, I guess whatever you want to call it, jazz sensibility - but not have it be about solos."
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Charlie Hunter
"The market didn't define the music; the music defined the market."
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Charlie Hunter
"That's the thing that we said about the horn before: it's a focus issue. It's like a singer versus a drummer. If a drummer's playing a drum beat, and a singer starts singing, what do you think the audience is going to do?"
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Charlie Hunter
"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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Charlie Hunter
"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."
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Charlie Hunter
"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."
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Charlie Hunter
"I do dig the White Stripes. I like the record they have out now."
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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!"
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