Craig
Real Name:
Carl Craig
Profile:
Born May 22, 1969 in Detroit, United States.
Carl Craig was a key player in Detroit techno's second wave, following the futuristic lead of originators Derrick May and Juan Atkins, and eventually collaborating with May. He began recording at the turn of the 1990's, using a number of aliases to release innovative ambient, techno, breakbeat and future jazz sounds.
One such alias, Innerzone Orchestra, issued "Bug In The Bass Bin" in 1992, the track largely responsible for moving drum 'n' bass away from the sounds of hardcore and ragga. He later reconvened Innerzone Orchestra as a jazz/techno combo, recruiting jazz composer/keyboardist Craig Taborn, former Sun Ra Arkestra member Francisco Mora Catlett, and Matthew Chicoine to help him record 1999's album "Programmed".
Matt Chicoine, under alias Recloose, later signed for Craig's own label Planet E Communications, a peerless dance label employing the same eclectic and futuristic ethos that informs his own music.
With releases under many aliases, including BFC, Psyche, Paperclip People, 69, Designer Music and Innerzone Orchestra; Carl Craig has more musical personalities than the average electronic artist. As much as his different guises can confuse though, his music is always easily recognized because whatever he does, it retains that certain Craig-ness of sound. A deep commitment to soul mixed with jazz, often including but not exclusively so, a detroit techno sound, has always been the watermark of his music.
Even when Craig is destroying dance floors with such songs as the classic track "Throw" (or one of the very many versions of it!) there is always a subtleness and attention to detail that separates his music from that of the typical dance music producer.
Carl Craig was a key player in Detroit techno's second wave, following the futuristic lead of originators Derrick May and Juan Atkins, and eventually collaborating with May. He began recording at the turn of the 1990's, using a number of aliases to release innovative ambient, techno, breakbeat and future jazz sounds.
One such alias, Innerzone Orchestra, issued "Bug In The Bass Bin" in 1992, the track largely responsible for moving drum 'n' bass away from the sounds of hardcore and ragga. He later reconvened Innerzone Orchestra as a jazz/techno combo, recruiting jazz composer/keyboardist Craig Taborn, former Sun Ra Arkestra member Francisco Mora Catlett, and Matthew Chicoine to help him record 1999's album "Programmed".
Matt Chicoine, under alias Recloose, later signed for Craig's own label Planet E Communications, a peerless dance label employing the same eclectic and futuristic ethos that informs his own music.
With releases under many aliases, including BFC, Psyche, Paperclip People, 69, Designer Music and Innerzone Orchestra; Carl Craig has more musical personalities than the average electronic artist. As much as his different guises can confuse though, his music is always easily recognized because whatever he does, it retains that certain Craig-ness of sound. A deep commitment to soul mixed with jazz, often including but not exclusively so, a detroit techno sound, has always been the watermark of his music.
Even when Craig is destroying dance floors with such songs as the classic track "Throw" (or one of the very many versions of it!) there is always a subtleness and attention to detail that separates his music from that of the typical dance music producer.
Sites:
Aliases:
69, BFC, C2 (4), C2C4, Designer Music, Eich, Me, Son, Sche, FRS, Glock (2), Immortal Music, Paperclip People, Parametric (2), Piece, Psyche, S1100, Shop, Somebody (2), Tres Demented, Urban Culture
In Groups:
Variations:
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Carl Craig
| C Craig
| C. Craig
| C.Graig
| Carl 'The Maniac Braniac' Craig
| Carl Craig's
| Craig
| One Carl Craig
| Special Agent Craig
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Reviews & Discussion
Carl Craig is the real deal. He's techno's John Coltrane or Miles Davis, the guy leading the rest down uncharted paths. In 30 years people will look back on Carl Craig's ridiculously consistant output in documentaries on PBS. Seriously. In my opinion, he is probably the most important musical artist of the past 20 years. His albums are stellar, and his 12"s are ridiculously good. He's done jazz, house, techno, disco edits, hiphop, soul, etc. There's nothing he can't do. He's been quoted as saying he wants to be the next Quincy Jones. I love QJ, but C2 has him beat.
I think a lot of people who make house music fall into one of two categories:
- a dj (or)
- a musician
I think Carl Craig falls most definitely into the latter of these two categories. Don't get me wrong, i'm not saying he's a bad dj, it is just that you listen to his productions and think to yourself that there is a musician - a proper artist.
The man makes music that touches the soul.
- a dj (or)
- a musician
I think Carl Craig falls most definitely into the latter of these two categories. Don't get me wrong, i'm not saying he's a bad dj, it is just that you listen to his productions and think to yourself that there is a musician - a proper artist.
The man makes music that touches the soul.
It is quite clear that Carl Craig has played an integral part in the history of Techno everybit as much as derrick juan kevin and Eddie flashin fowlkes (eddie often referred to as the unfairly forgotton brother of Detroit).
Carl Craigs production can be quite hard to understand and even quite hard to get into, especially to those new to his music, HOWEVER listen a second time and you begin to understand. Listen a few more times and you're hooked. The same is to be said about his DJ kicks more directly his Workout mix CD. It may seem a bit light and bitty to some, but keep on listening properly and you begin to realise that this is a man who constantly pushes the boundaries is open adding his own PERSONAL touch. I met him at the bridge and tunnel in London when he was playing, it was only a small party with about 150 people. He was even playing hip-hop and soul, and the occasional dutch house record. I mentioned that i had bought a copy of "steam" off eBay - he replied that he didn't think it had been released. When i sussed him out and told him it had come out on planet E, Touche and Open records he chuckled and told me I had sussed him on that one. Down to earth guy. But most importantly don't forget his contribution has changed techno forever.
Carl Craigs production can be quite hard to understand and even quite hard to get into, especially to those new to his music, HOWEVER listen a second time and you begin to understand. Listen a few more times and you're hooked. The same is to be said about his DJ kicks more directly his Workout mix CD. It may seem a bit light and bitty to some, but keep on listening properly and you begin to realise that this is a man who constantly pushes the boundaries is open adding his own PERSONAL touch. I met him at the bridge and tunnel in London when he was playing, it was only a small party with about 150 people. He was even playing hip-hop and soul, and the occasional dutch house record. I mentioned that i had bought a copy of "steam" off eBay - he replied that he didn't think it had been released. When i sussed him out and told him it had come out on planet E, Touche and Open records he chuckled and told me I had sussed him on that one. Down to earth guy. But most importantly don't forget his contribution has changed techno forever.
Comparing DEMF; The Carl edition, vs. the Non-Carl edition.
As someone who has been around electronic music as a buyer, as a supporter, a promoter, a participator for many many years. I had so much more fun and felt much more rewarded as a listener and a traveller when it concerns Detroit Electronic Music Festival 2001 versus 2002. That was such a more open minded affair as far as the permutations and an HONEST representation of House Techno Electro etc etc ad infinitum are concerned than the 2002 edition. Comparing the two is like night and day. 2001 I felt rewarded if I stuck around to listen to some artist I may have a periphal knowledge about who was due to perform or just a Hi how are ya? by someone I had long followed and supported as they gave their nickels worth input. 2002 felt like any of the many outdoor weekend festivals I have been around played at and otherwise. I could have gone to a RAVE circa 97 and gotten pretty much the same line up verbatm as far as the headliners are concerned. George Clinton is only obvious and should be allowed open stage to play anytime he damn well pleases. he wrote it, he made it, he controlled it long before any of them even knew what (a) soul was or even what a daiper was for that matter. That harpie ms. marvin probably doesn't even own any of his records except for some greatest hits collection so she can sing along to flashlight in the car when she's feeling woozy.
I'm thankful 2002 was musically bland in comparison so I actually did get a chance to see what Detroit as a burnt out urban area has to offer to the traveller. Visually detroit is an ugly, cruel, a town where it's entirely possible and plausible for someone to make their own world out of what the environment has to offer. Inspirational for a better tomorrow indeed, but holy trousers it's burnt down. I understand why the music is as inspiring and beautiful as it is when it comes down to it, there's nothing else to satiate that desire for beauty. Not within the confines of the urban experience at least.
Carls music is difficult to play at times, it challenges me as a dj to find a point to mix out of a lot of his songs. I more often than not have to play them front to back because they're structured as they are structured. they generally get someone crazy in the legs and azz. Again, someone on their own program and own level that few others attempt to approach much less aspire towards. One of those producers it's just best to snap up ANYTHING with his name attached to it no matter what the role.
Now what about the norman whitfield tribute?
now there's a cat who needs to be thanked.
As someone who has been around electronic music as a buyer, as a supporter, a promoter, a participator for many many years. I had so much more fun and felt much more rewarded as a listener and a traveller when it concerns Detroit Electronic Music Festival 2001 versus 2002. That was such a more open minded affair as far as the permutations and an HONEST representation of House Techno Electro etc etc ad infinitum are concerned than the 2002 edition. Comparing the two is like night and day. 2001 I felt rewarded if I stuck around to listen to some artist I may have a periphal knowledge about who was due to perform or just a Hi how are ya? by someone I had long followed and supported as they gave their nickels worth input. 2002 felt like any of the many outdoor weekend festivals I have been around played at and otherwise. I could have gone to a RAVE circa 97 and gotten pretty much the same line up verbatm as far as the headliners are concerned. George Clinton is only obvious and should be allowed open stage to play anytime he damn well pleases. he wrote it, he made it, he controlled it long before any of them even knew what (a) soul was or even what a daiper was for that matter. That harpie ms. marvin probably doesn't even own any of his records except for some greatest hits collection so she can sing along to flashlight in the car when she's feeling woozy.
I'm thankful 2002 was musically bland in comparison so I actually did get a chance to see what Detroit as a burnt out urban area has to offer to the traveller. Visually detroit is an ugly, cruel, a town where it's entirely possible and plausible for someone to make their own world out of what the environment has to offer. Inspirational for a better tomorrow indeed, but holy trousers it's burnt down. I understand why the music is as inspiring and beautiful as it is when it comes down to it, there's nothing else to satiate that desire for beauty. Not within the confines of the urban experience at least.
Carls music is difficult to play at times, it challenges me as a dj to find a point to mix out of a lot of his songs. I more often than not have to play them front to back because they're structured as they are structured. they generally get someone crazy in the legs and azz. Again, someone on their own program and own level that few others attempt to approach much less aspire towards. One of those producers it's just best to snap up ANYTHING with his name attached to it no matter what the role.
Now what about the norman whitfield tribute?
now there's a cat who needs to be thanked.
Carl about Carl:
"What I'm trying to do is similar to what Miles Davis did back in the late '60 and early 70s, where it just had a feel that was timeless. But it also integrated aspects of modern technology at the same time. My whole outlook isn't to make a pop record. My whole outlook is to make a classic, timeless piece of music that I can pick up in 30 years and still be proud of."
"What I'm trying to do is similar to what Miles Davis did back in the late '60 and early 70s, where it just had a feel that was timeless. But it also integrated aspects of modern technology at the same time. My whole outlook isn't to make a pop record. My whole outlook is to make a classic, timeless piece of music that I can pick up in 30 years and still be proud of."