![]() I still remember how we used to do stuff just to fuck with people! Sun Ra would always do a space chord, so when we were doing the Innerzone Orchestra together I said we have to do one as well. It’s a nice conversation that we have back and forth. You’re a great mentor to me, but when it comes to technology, I can offer guidance. I even broke one! I still owe you for that.Ĭ: You and I have an interesting relationship because when it comes to history and music theory. You have not only become a treasured friend, but a treasured mentor.į: It goes both ways: I remember borrowing synths from you. You introduced me to a lot of Sun Ra, and it was your guidance that really got me into the world of Electric Miles. Some of my musical storytelling has come from the chief griot, Fransico Mora. I used to spend hours at your house, learning about drumming, and how African influences and experiences have crossed over into electronic music. He hadn’t heard it, so I loaned him the record. In the end, he came over to my house, we drank tea, and listened to Sun Ra synthesizer solos. Mora, why did you say that we aren’t doing anything new?” So I started telling him about how the history of African-American people in electronic music goes way back. One day she came home, and started enthusing, ‘techno! techno! it’s the great new thing that’s happening!’ So I said, “Ife, there’s nothing new about electronic music in the African American experience.” Of course, she went off and told her friends: “my daddy says that you guys aren’t doing anything new!”Īfter that, Carl called me up, asking “Mr. On the heels of the release of Francisco’s first full length electronic album, Electric Worlds – released on Carl’s Planet E label - the pair sit down to discuss their inspirations, Sun Ra, and the fundamental power of music.įrancisco Mora-Catlett: My daughter Ife was getting really into electronic music when she was a teenager in the mid ’90s, running around all these raves and parties with her pink hair. From teaching Carl about jazz history and playing on his 1996 album The Innerzone Orchestra, to Carl lending Francisco synthesizers, the two have remained in constant conversation. Inspired by Sun Ra’s forward-thinking ethos, Francisco is able to find connections between jazz and electronics.Ī seemingly unlikely pairing, his relationship with Detroit legend Carl Craig was born out of a shared mutual respect and a passion for sharing knowledge. With an appetite for futurism, Francisco draws on his extensive knowledge of musical history and theory to push his work forward. After working as a session musician for Capitol Records in the late ’60s, Francisco left Mexico City with Sun Ra in 1973, touring with him and the Arkestra until 1980. The son of Mexican painter Francisco Mora and African American sculptor Elizabeth Catlet, Francisco thrived in a “progressive arts environment” since childhood. ![]() Drummer, composer, and multi-instrumentalist Francisco Mora-Catlett has been immersed in creativity since birth.
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