Art & Creativity Quote by Miroslav Vitous

Vitous is describing a quiet revolution that only musicians and obsessive listeners tend to notice: when an instrument refuses its assigned job. His phrasing is almost comically careful, full of commas and course-corrections, like he’s trying to translate a tactile studio memory into language without flattening it. That hesitation is the tell. He’s not selling a neat origin story; he’s pointing to a technical choice that became an aesthetic identity.

The key line is “playing much, much less like a bass.” On paper, that sounds like subtraction. In practice, it’s a power move. The bass is supposed to anchor harmony and time, to behave. Vitous is hinting that on Infinite Search he treated it more like a roaming voice: melodic, conversational, sometimes percussive, sometimes floating above the grid instead of bolting it down. That’s how you make a record feel searching rather than settled. You can hear the era in it too: late-’60s jazz where “role” was starting to look like a polite trap, and every instrument wanted the freedom of a horn.

There’s also a little self-branding tucked in the opening: “aside from my music… you can recognize.” He’s acknowledging continuity, but he’s more interested in the specific mechanism of difference - what, precisely, changed in the sound-world. The subtext is a musician staking claim to authorship in a collaborative genre: not “I played great,” but “I redefined the function.” That’s the kind of statement that ages well, because it describes a method, not a mood.