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Charlie Hunter

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.

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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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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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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.

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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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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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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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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.

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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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