A quick Q&A with the incomparable Charlie Hunter
Charlie Hunter has been a fixture on the jazz scene since the 1990s with a number of albums both in trio and quartet format in addition to many special appearances and side projects. While his prolificity is inspiring, it is his instrument of choice that truly sets him apart from his peers. Hunter plays 7-string fanned-fretted hybrid guitars made by California-based luthier Jeff Traugott. The unique axe allows Hunter to play bass and guitar at the same time… a wholly dexterous feat. John Mayer may have said it best when he said watching Hunter play is its own explanation as to why he would elect to pursue such a curious instrument.
Hunter’s latest effort is Baboon Strength, a nine-song groove-filled trio romp that’s more jam than jazz. The CD, released in September, is highlighted by the Squeeze-inspired groove of ‘Dilford-Tilbrook’, the minimalist melody of ‘A Song for Karen Carpenter’ and the surf-infused boogie of the title track. Hunter took time out from his Thanksgiving holiday to talk with WTDP? about his gear and more.
WTDP?: Can you give us the rundown of the gear you are currently touring with for Baboon Strength?
Charlie: I’m using a Headstrong Lil’ King, Bassman 135 into a Mesa Boogie 1×15 speaker cab. On the floor I have a Zvex Seek Wah and my old Boss Octave pedal.
WTDP?: What about the particulars of your effects? I know you used a multi-effect pedal in the past. Is that still part of your set-up or are you using individual pedals on a pedal board?
Charlie: I’m pretty much back to basics on the guitar side with the exception of the Seek Wah, which is fun. On the bass side, I sometimes bring my old Boss Octave pedal. I decided to be a man and stopped using a volume pedal.
WTDP?: How is it running effects through an instrument that is both bass and guitar? Does that limit your choices on which effects are available to you or is their a way to split the signal up and route to solely the guitar part or bass part?
Charlie: My pickups are split so I can pretty much do whatever I want.
WTDP: Do you have a favorite effect type, brand, both… if so, what is it?
Charlie: I highly recommend any B.Y.O.C. stuff. I’ve made every one of them and they’re all top notch. I like Zachary Vex’s stuff as well.
WTDP?: Regarding Baboon Strength, the album sounds fairly spontaneous and jammy, were all of the songs written before-hand or was there some impromptu writing in the studio as well?
Charlie: Everything was written before hand. However, we all have extensive improvisational vocabulary, which informs the music.
WTDP?: Baboon Strength feels more like a rock/funk record, a kin most to Mistico, than a jazz record like most of your other albums. Was that by design?
CH: Definitely by design!
WTDP?: It doesn’t take much to figure out how important ‘the groove’ is to a Charlie Hunter record. ‘Fine Corinthian Leather’ is a stellar example of the on Baboon Strength. This might be a tough question, but is it a conscious thing for you or does ‘groove’ just happen?
Charlie: The groove better just happen at this point! I spend countless hours practicing with drum machines etc… to get my groove more together. It’s a path without an end.
WTDP?: What’s on the agenda for Charlie Hunter in 2009? More touring? Recording? Fill us in!
Charlie: 2009 will be a year of trying to pay bills and hoping everything works out.
Thanks Charlie!
