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He was a real visionary, later in the mid-’90s when I was touring with Carl Craig’s InnerZone Orchestra, every time that I went on the stage, I could hear Sun Ra in my ear saying, “You’re going to have to learn how to play with one of these in your lifetime.” He was absolutely correct. He turns to me and says seriously, “You’re going to have to learn how to play with one of these ones in your lifetime, so get on the drums.” He told me to get on the drums and play with it, and I told him they weren’t real drums, that it was a machine. The type that when you pressed it, and you pressed rumba, or cha cha, or foxtrot it would play that in an old fashion way. When I was with Sun Ra back in the ‘70s, I remember him coming over to the house where the orchestra lived in Germantown, Philadelphia with an old, like a rhythm machine, like those that you put on top of a Hammond organ. It was one of two prototypes - and I heard from Sun Ra that Robert Moog said he wanted it back, but Sun Ra wouldn’t give it to him. He was advanced, already utilizing a Moog synthesizer in 1958 that Robert Moog built for him. He started using an electric piano in 1952, back when everyone told him he was crazy for using it in jazz music. Here, in his own words, Mora-Catlett discusses five key artists who bridged the gap between jazz and electronic music. Utilizing little-used instruments, Mora-Catlett says Electric Worlds seeks to answer a question experimental musicians like himself and the greats he’s worked with have long been pondering through music: “Who am I, what am I, and what is the universe?” Making this music at the Berklee College of Music during the pandemic, the nine-track album crosses spatial jazz with elements of ambient, d’n’b and other sounds both futuristic and vintage. It was thus a full-circle moment when Mora-Catlett released his latest album, Electric Worlds, via Planet E on November 19. This mentorship spurred Craig’s’s interest in jazz, with Craig going on to release records in the genre on his longstanding label, Planet E. Becoming a mentor to Craig, Mora-Catlett told the producer that musicians of color pioneering electronic music wasn’t new: It had actually been happening since the ’50s, when Sun Ra started using the first rhythm machine and electric pianos from Robert Moog. Before long, Mora-Catlett was playing with Craig as part of his 1996 jazz/electronica fusion project, Innerzone Orchestra. It was in this same era, when Mora-Catlett was a visiting professor at Michigan State University that one of his fives daughters informed him of the techno revolution happening in nearby Detroit, eventually introduced him to Detroit techno legend Carl Craig.
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