Top 23 Quotes & Sayings by Charlie Hunter

Explore popular quotes and sayings by an American musician Charlie Hunter.
Charlie Hunter

Charlie Hunter is an American guitarist, composer, and bandleader. First coming to prominence in the early 1990s, Hunter plays custom-made seven- and eight-string guitars on which he simultaneously plays bass lines, chords, and melodies. Critic Sean Westergaard described Hunter's technique as "mind-boggling...he's an agile improviser with an ear for great tone, and always has excellent players alongside him in order to make great music, not to show off." Hunter's technique is rooted in the styles of jazz guitarists Joe Pass and Tuck Andress, two of his biggest influences, who blended bass notes with melody in a way that created the illusion of two guitars.

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Audience Band Beat Biggest Blanks Bobby Brown Call Change Changing Hide All Chopped Cliche Comfortable Commercial Concept Continuity Cool Create Dealing Define Defined Direction Doing The Right Thing Drum Drummer Earlier Edited Editing Embrace Engineer Essentially Evening Ever-Changing Evolution Exact Exciting Existing Falls Feel Feels Fickle Fill Fill In The Blank Filled Find Focus Force Forcing Form Fourth Funk Generally Genre Good Great Great Job Group Guess Guitar Guitar Player Hard Harding Heard Hitting Home Hope Horn Idiotic Imagination Individual Industry Influenced Instrument Internet Intuitive Issue James Jazz Killing Kind Knew Large Larger Launch Leave Line Live Logic Luckily Magic Make Making Market Member Mine Minimalist Mixing Moment Music Music Is My Imagination Opened Organ Parameters Part Parts Patient People Play Played Player Playing Point Pretty Quote Realize Realized Record Rhythm Right Thing Satisfy Scary Scott Sensibility Shape Singer Singing Situation Smallest Solo Solos Something Good Sound Space Started Starts Strictly Stripes Strong Stuff Style Switch The Right Thing Thing Tools Totally Trio Ultimately Unit Versus Wanted Ways White White Stripes Works World Yeah Less More Hide All See All
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.
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.
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?
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.
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. — © 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.
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.
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!
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.
But that kind of falls in line; when you think about it, James Brown was a funk minimalist. All of those parts create a sum that's larger than than the individual parts.
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.
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.
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.
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.
Anyone playing with you is going to change where your direction is.
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.
I never do anything to strictly satisfy a fickle, ever-changing commercial world. I do the music I like to play. It's the only way I feel comfortable existing in the industry.
I do dig the White Stripes. I like the record they have out now.
The market didn't define the music; the music defined the market.
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.
Now, when we first started, I would be playing something good and then feel like I wasn't doing the right thing and launch into some idiotic cliche. Luckily for me, Bobby was patient.
I certainly hope my music is in no way, shape or form influenced by anything that would be known as a jam band. If it is, then I'm going to do something else.
Yeah, it's more like playing what you think is appropriate for the moment, not forcing any particular style. — © Charlie Hunter
Yeah, it's more like playing what you think is appropriate for the moment, not forcing any particular style.
The trio is the biggest sound you can have with the smallest unit.
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