Derrick Carter - Biography
Derrick Carter is virtually synonymous with Chicago house music. Gaining a well-deserved reputation as an amazing DJ in the early 1990s, Carter is arguably the most important figure in Chicago house from that decade. His incredible DJ sets and mix albums, as well as his own rare productions, have come to define the Windy City sound. Since the 1990s, Carter has continued to expand his palette as well as develop his production skills, becoming one of global dance music’s major players.
Carter was born on October 21, 1969 in California, but was raised in the western suburbs of Chicago. Legend has it that he started his DJ career at the tender age of nine by spinning disco records at family reunions. By the time he was a teenager, Carter had stepped out as a professional DJ in Chicago’s house music scene. While working at record stores, he scored regular gigs at clubs like Foxy’s, Smart Bar, and Shelter, and quickly gained a strong reputation for slick sets rooted in both current house and classic disco and soul.
In addition to DJing, Carter produced his first tracks early on in his career; his debut single, “Love Me Right,” appeared in 1987. Working with Mark Farina and Chris Nazuka under the name Symbols & Instruments, Carter released the excellent 12” Mood (KMS) in 1989 on Kevin Saunderson’s legendary KMS label. Carter has always relished the long-held dance music principles of anonymity, releasing a great deal of his own music under a plethora of monikers. Early aliases include The Unknown and 24-7-365 (with producer George Andros). In 1989, he released the 12”s Get On It (Housetime Records) as The Unknown and We’re Gonna Have A Good Time (Rhythm Vision) as Derrick Carter, and both show a penchant for deep, soulful grooves.
Chicago house saw a strong resurgence in the mid ‘90s and much of Carter’s best work is from that era. In addition to various mixes, Carter produced some excellent singles under names like Tone Theory, The Magi, Red Nail, Shock Therapy, and Sound Patrol. Nazuka has been a constant production partner for much of Carter’s career, teaming up for projects like the 1995 deep house classic Am (Organico) as well as on work under the names The Magi and Red Nail. Carter’s produced some of his most successful mix albums during this time as well. Perhaps most notable of these releases is The Many Shades of Cajual (Ministry of Sound), released in 1996. Regarded by some as one of the best commercially available house music mixes ever released, the album is a journey through deep grooves and lush atmospheres. Also of note is the Mixmag release The Cosmic Disco (Moonshine Music) from 1997 and the following year’s Pagan Offering (1998 Pagan).
Around this time Carter also started the Classic label, releasing his own productions as well as music by Stefan Goldmann, Isolee, Metro Area, and Rob Mello, just to name a few artists. Among these releases is 2002’s Squaredancing In A Round House (Classic), Carter’s debut full-length of his own productions. An unbelievably strong set, the album blends techno, house, funk, and soul into a wobbly synth-laden, sub-heavy mix of polyrhythmic Afro-futurism. Tracks like “If I,” “While Corey Slept,” and “Rhythm Machine” are future forward house classics. It’s a shame we don’t have more full albums of Carter productions.
More excellent mixes and not-to-be-missed DJ sets followed, cementing Carter as one of the world’s best DJs. He also turned in remix work for artists as diverse as The Human League, Ricky Martin, Tortoise, and Royksopp, and released new music under the names DJ Bang, Oneiro, and under his own name as well. Carter’s prowess behind the decks continues to keep him in demand. Here’s hoping the man will find time to give us another set of his own music soon.
