Over the last six months, Kassa Overall composed, improvised, and took musical risks at The Jazz Gallery alongside six deeply contrasting pianists. Each session was meticulously recorded, generating raw material for Overall to sample, recompose, and produce. Now, Overall (plus some surprise guests) will return to The Jazz Gallery for two final nights showcasing the results of the long-form experiment. The Jazz Gallery will effectively become a live production studio, and audience members will witness a new kind of re-contextualization, improvisation, and listening experience.
Jazz Speaks writer Noah Fishman interviewed Kassa Overall every month for half a year, following Overall’s creative process and growth. It’s our pleasure to present their final conversation, serving as both a retrospective and a nod to the future.
The Jazz Gallery: I want to start by asking you to briefly describe your big-picture lessons from each show.
Kassa Overall: With Jon Batiste, I had no idea where we were headed. It was a great adventure. Afterwards, I felt confident about the whole series. I realized that I had high-level musicians, and it wasn’t so much about over-preparing, but rather creating a space for everybody. If I did that, then they could shine. The first show gave me that perspective.
Jason Moran’s set had the most earthly intensity of all the shows. Between him and bassist Evan Flory-Barnes, there was a lot of power on stage. After that one, I remember thinking, “I’m playing with some heavy-hitters, and I gotta make sure my drum chops are on the right level.”
With Aaron Parks, we leaned in with the Valentine’s Day energy. With that one, I realized the importance of setting a tone for each show. After that show, there were still some remnants of the Jason Moran thought. So I decided to practice every day for thirty days.
With Sullivan Fortner’s set, I was beginning to understand that as well as having these great musicians, I had to prepare myself, and put myself in the right space. I though, “Let me just prepare on my own.” I gave Sullivan a piano, B3, and Rhodes, and I practiced every day. Then we just improvised. That was the first set where I decided to improvise the whole set: For the rest of the shows, it was all improvisational.
With Kris Davis, again, the thought was, “How can I set the stage?” With this one, I decided to incorporate my vocals and effects. That one was one of the most intense shows. Ever. Especially the first set. A new thing opened up. It was faith-affirming in the idea of spontaneity.
This all lead me to Craig Taborn. We couldn’t get into the Gallery to rehearse, so we decided to just walk around the city and talk. That was our rehearsal. Again, it was assurance that there’s something to spontaneity, to preparing in a way that’s not typically considered preparing. It was another amazing experience. I was shocked at how we arrived at a concept without really discussing it. We just talked about what we love about music. Through that, we created an identity.
This whole experience has brought me to a realization. It’s great to prepare music, but there are many ways of preparing: Don’t use preparation as a creative crutch. Don’t use preparation as a way of saying, “I can’t improvise, so I’m going to perfectly orchestrate all of this stuff. It’ll sound like I’m improvising, but what I’m really doing is a magic trick, a circus act.” Now, I’m really trying to accept that that’s what people like. There’s a time to cut the edges off the crust. There are times to make things more correct. But don’t sacrifice the magic of spontaneity.