Carl Craig, 
It’s Only Natural

By Lady Lex

When an artist reaches twenty years of being in the business, it’s time to look back through the years and reflect. If ever there was a time for Detroit techno champion Carl Craig to ponder twenty years of DJing, producing a cache of quality albums and stamping his improvisation mark onto techno and house, now would be it.

Detroit born and bred, Carl grew up with music loving parents during the 1980s, a time when rap music was expanding and synthesizers and keyboards were becoming more accessible. For every 80s child, electronic equipment was fascinating - and Carl Craig was no exception. As a player of the keys, guitar and bass guitar, there is undoubtedly an alternate universe where Carl sits in the upper echelons of jazz fusion, alongside such greats as Herbie Hancock, Chick Corea and Joe Zawinul. If Carl had been born ten years earlier, the electronic world would indeed be a different place. But as it was the 1980s and turntables were on the rise, it was only natural for Carl to find his niche behind the decks. The next natural progression would be to utilize his instrumental talents and enhance the techno and house electronic matrix with live instrumentation over his productions. And the next step from there would be to stamp his signature sound of fusing live improvisation with electronic onto a record label.  As a unique electronica label, Planet E Communications takes a highly unique approach, and embraces the soul of jazz fusion with house and techno beats. More than two decades later, Planet E stands out as a distinguished station in Detroit techno, having featured acclaimed artists from Kevin Saunderson to Alton Miller and Moodyman.

In celebration of twenty years in the field, Carl Craig takes the label on an international tour, showcasing artists captured by the essence of Planet E through performance and the release of a new album. And in the lead up to E20 coming down under, Carl Craig reflects on how Planet E came about, and the significance of Planet E in the many worlds of electronica.

Your sound is so unique in that many aspects of 1970s Jazz Fusion feature in your tracks. Where does this love for Jazz Fusion come from?
It comes from listening to the radio in Detroit – because my dad listened to it. And also from the records my dad owned – guys like Vince Delgado or Herbie Hancock. By the time the records got to me they were pretty demolished. But there was definitely a possibility of me looking into jazz. I was also inspired and influenced by guys like Marvin Tribe and Wendell Harrison.

The thing about Jazz Fusion though is the great analogue aspect. Do you miss analogue?
I miss the physicality of it - the duality of each physical item with analogue. Each record had its own soul – and synths and drum machines too!

You’ve written and produced under quite a few pseudonyms: Paperclip People, 69, and Designer Music just to name a few. Innerzone Orchestra also made its own mark by influencing the sound of drum n bass with the 1992 track ‘Bug in The Bassbin’. Why so many aliases? And when does Carl Craig come out?
It depends upon my feelings. It all comes about from me seeking. For 69, it’s a mixture of feeling energetic and high energy, but also in love. Paperclip people are a party. But Carl Craig is always there.

The one thing that unites all of your aliases is your love for lots of complicated textures - particularly live instrumentation - in your tracks. With your talents on keys, guitar and bass, why did you choose the decks?
I was more interested in electronics. In the time I grew up, my favourite music was Art of Noise and Kratwerk – I was definitely interested in the electronic side of things. The time was when scratching, rap music and breakdancing were coming along as well. I was really influenced by turntables and synthesizers. It was a natural progression for me to go along with what was cutting edge and young and interesting. I’d already been playing upright bass, concert bass and guitar, but for what I listened to, I was more into turntables and synths.

You’ve taken the music you love to play, write and produce and put it into a nutshell and called it Planet E Communications. With what has happened over the last twenty years, has Planet E been its own organic beast or has it kept to a plan that you first established?
The thing I’ve taken from jazz is the spirit of improvisation. Some parts of improvisation have to be calculated because you have to know how to play the scales or you have to know the chord progressions to play notes in. But the amount of space you put between notes are completely uncalculated. I go with my spirit that anything can happen at any time. And that’s what how Planet E has developed as well. If we want to put something out, we do. The infrastructure means that it can be an impulsive thing and we can manufacture records very quickly. Yes, it can be a very impulsive thing – but that’s what happens with improvisation.

In celebration of twenty years in the business, you are taking Planet E on the E20 Tour with a ‘Best Of’ album that involves guests from Luciano, Ricardo Villalobos, Dubfire, Loco Dice, Seth Troxler, Psycatron, Radio Slave and many more. Laurent Garnier particularly is like your European equivalent: what’s it like to work with him?
It was really relaxed. Everytime I see him, I learn something new - something new about music, presenting music, about him. It’s that personal thing that happens with me and cohorts.

E20 will be coming down under very soon! When you reach Australia, what can we expect to hear from you?
Good music! I’ll play music from the label. It will be not only interesting and entertaining, but also invigorating.