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.
From 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.
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.
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.
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.
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.
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.
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.
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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