What are the goofy moments in the studio with a character like him? Those sessions look like they get crazy at times. Of those 10, maybe one song would come about. I’d send him 30 ideas a day, he’ll pick his 10 favorites and Jah would drum them up. He would guide me because he has a very strong ear. He’ll say what he likes, hum notes and melodies. The way we work is we’ll get together and I’ll make 20-30 ideas in a row really quick. His process is very personal and he writes on his own. He has a bit of a different process than different people. What’s your creative chemistry like with him? He introduced me to these guys Henry Kwapis and Jack Karaszewski, and they became my partners on the show for the music. I think you should stay and work on the show with me and see where it goes.” I ended up dropping out and it was the best decision I ever made.
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We worked on his album all summer and at the end of the summer he told me, “I’m doing this TV show and I’d love for you to do the music for it.” I was like, “Cool, I’m going to go back to school and try to do it remote from New York.” But, a few days before I was supposed to go back to school, he literally called my parents and was like, “I changed my mind. Jah and I were super diligent about sending Dave our best stuff possible every week. It was one of my first big breaks in music, relationship-wise.
I brought Jah along with me to Dave’s house for the first time and we ended up hanging out for a number of hours. I make melodies, loops, and stuff, and Jah is really amazing at drums. We actually did a bunch of songs together for Masego. He and I actually did the “Old Age” song together for Masego. His real name is Jahnei Clarke but everyone calls him Jah. He told me one day, “I think you’re ready to meet Dave and see where that goes.” I owe that to Sam, who is still my manager. He had been passing my beats along to Dave. Eventually, he introduced me to Dave because he was a really good friend of Dave. We developed this rapport and we would hang out all of the time. We connected on Instagram and he worked with a lot of people I had been working with, and I sent him a bunch of music. It was my sophomore year of college and I befriended this guy called Sam French. You made the theme music for Lil Dickey’s “Dave” show at a really young age. In high school, I got really serious about production and became a real nerd about music production. In middle school and high school, I studied this instrument called the vibraphone.
It’s like having a conversation musically. It’s a lot of improvising and call-and-response along with us going back and forth musically. Working with him is really hands-on and collaborative. He was the first artist I was in the studio with to witness the making of the music. He was in New York and I was a freshman at NYU. It was very early in my career and I got a chance to do some production for him on a song called “Old Age” with this artist called SiR. What was the first studio session you had with a major artist? In this installment of “Studio Sessions,” the 22-year-old producer explains how dropping out of school helped him work on “Dave ,” Jack Harlow and Roddy Ricch’s recording speed, and working with Boi-1da. At one point, Kendrick gets on the mic and freestyles for 10 straight minutes,” Harris tells REVOLT. “ just shooting ideas off each other back and forth. Whether you’re streaming Baby Keem’s The Melodic Blue album or bingeing on FX’s “Dave ,” it won’t take long to hear the production of Jasper Harris, a producer who knows what it takes to make classic music. These are the stories that rarely leave the booth.
For “Studios Sessions,” we delve into the stories behind the long hours in the studio and all that goes into making an album by talking with artists, producers, engineers, photographers, and more who are intimately connected to the recording process with some of the biggest artists in the world.
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