At the last installation of the TIME CAPSULE residency, Kassa Overall and Sullivan Fortner traveled to outer space. With Fortner on B3 organ, Rhodes, and piano, the two musicians charter a path to a completely improvised world of sparkling rhythms and melodies. In Overall’s words, “After the first set, I felt like we had just finished getting a spa treatment.”
In our fifth interview, Overall told us about a few more of his current projects, how they feed into and result from the ongoing TIME CAPSULE residency, and the upcoming show with Kris Davis and Stephan Crump.
The Jazz Gallery: You mentioned that you’re in the middle of doing some remixes?
Kassa Overall: Man, it’s exciting. I’ve had some recent opportunities to give guest DJ mixes to different radio stations. The first one was for KMHD, the main jazz radio station in Portland, and the one I’m working on now is for BBC 6, which has Gilles Peterson, new music, jazz, quasi-jazz vibes, everything. KMHD hit me up about doing an interview to promote a show in Portland, and they said I could also do a guest DJ mix. So I started taking recordings by some of my favorite jazz friends, chopping up their songs, and adding a little production to the tracks. I took a Jon Batiste song from his piano and voice album, chopped it up, and added drums. I did it to Vijay Iyer song, a Charles Tyler song, an Esperanza song. It was like, “If this were my album, this is what I would have done.” You know?
TJG: Like you were being a producer, in a way?
KO: Yeah. It’s remixing, but a little more creative. Somewhere between sampling and remixing. When we make something, we often think about defining it first, then making it from that context. If you say “I’m gonna make a remix,” and you start making a remix, you assume all these positions, you assume what it is to remix something. You might limit how much you add original content. When sampling songs, people often just sample four to eight seconds. When you think about it, you realize these definitions break up the creative process. So when I started to really dig in, I got excited. I was having a bit of writer’s block, and wasn’t really getting excited about anything creative. Then I started working on these remixes, and I got that excited feeling. I worked for three days, and at the end of it, I knew I had something good. KMHD played it on the radio and loved it. Now I’m working on a thirty-minute version for BBC 6. I’m currently chopping up one of my favorite songs from Makaya McCraven’s new album Universal Beings.
TJG: This isn’t so different from what you’re doing with TIME CAPSULE.
KO: Exactly. It’s all related experimentation with the idea of finished-work-as-source-material. It’s a big circle. This song, I realized, has the same chord changes as the Nas and Lauryn Hill song “If I Ruled The World” from 1996. Once I figured that out, boom, I started chopping that up, and now I’m in this big rabbit hole.
TJG: You think this is connecting some neurons around what you’re about to do with the residency?
KO: Yeah. Honestly, it’s all the same kind of experimentation. In every project, you lean more heavily on one aspect or another. But they say there’s nothing new under the sun. The key is letting go of that mental inhibitor that says “Nah, I can’t do that,” or “That’s too sacred.” From time to time I think about the Campbell’s Soup Cans that Andy Warhol did. I’m sure it was the early version of trolling, in a sense, but half the people were like, “Oh my god, amazing, it’s Campbell’s Soup!” And then the other half were like “I can’t believe you like this guy.” Anyone could have that thought, but to take the time to do it in its best possible way. It takes a certain amount of courage.