My memory of the process is that of Otso proposing techniques to try out on the bass, going towards particular sounds that use the bass more like an object - less about the notes on the strings.
Quite quickly, through the act of trying out these ideas, unexpected things popped up, opening up an interesting territory and making me think of my instrument in a different way.
Like the ricochet techique between the bass body and underneath the strings was fascinating to me - a new sound from the instrument I know so well. The resulting rhythm patterns and chaos made me think of a powerful experience of hearing Wolof drumming in Gambia - it connected to something meaningful in my own history.
New ideas span off from of the initial ones, drastically changing the shape of the piece. We would bounce off from each others' propositions and there was an acceptance of new directions from both sides.
In this process, the player becomes more and more an insider, an owner of the piece.
In order for this process to take place, a number of human qualities must be present: trust, respect, listening, space for each other's thoughts and ideas, as well as an open dialogue.
These qualities allow to let go of one's built-in aesthetic conventions and preferences. Even if the starting point does not feel right, trusting the process might allow to make a positive discovery.
It is a process of letting things emerge, and at the same time a possibility to discover more of one's own voice. It is a shared, gradual uncovering of the piece.
The dialogue with another person with different ideas creates more possibilities to uncover a wide variety of unexpected things. It's a different picture than when one works alone, in solo. Together, there is a shared flow of ideas, diversity and collaborative creativity. To me, the process was more about the human dialogue than about the music itself.