Daney Carey

**PocketPlayer** · May 31st, 2003, 02:51 AM

This is not the purpose of my thread...but all that "dark stuff" is much more than "kids stuff"--dangling with the occult ain't nonsense. I know, Neil P had the same type of symbols painted on his BD's on Moving Pictures...rock n' roll has been through this over and agian. Yet, rock aside, the occult and it's paraphernalia is, and can be dangerous stuff. You reap what you sow...but when you're in a position of deep influence as a successful band is, you are then in a position of influence.

But then, most of these guys, as developed and mature as they are on the instrument, can be just the opposite in "real life"--dismissing their influence, their power, their position.

As Sir Charles said, "Let parents be role models, not athletes." I agree with this.
Yet, there are a lot of households w/little parental supervision and influence. These kids are most influenced by images and the power of music. Just talk to a skin head recruiter--Who do they target? White males ages 16-24 from broken homes. How do they do it? Lots of beer, hard booze, and rock music. Their goal is to seduce and build a brotherhood--in short, to fill in the gaps and needs a family should meet. If you live in LA, go to the Museum of Tolerance and sign up for the lecture on skin heads. The guy that spoke when I was there was the model behind the movie, American History X. Talk about a highly intense individual. His candid discussion of how they would use music to seduce young guys into their care was alarming.

**buga** · May 31st, 2003, 04:13 AM

they improvise...

if u have any file sharing programm try to get a hold on sum boots from the last tour, Bozzio came out with sum roto's and played "Triad", and the drummer from The Melvins and Messugah(sp) did sum "drum solo duets" with Danny [img]cool.gif[/img]

**PocketPlayer** · May 31st, 2003, 06:31 AM

Hey Flam Triplet
I've listened to several of Portney's stuff, especially Liquid Tension Experiemnet and am interested in what you get from Marco outside of drumming gymnastics. His video bored me to death outside of the stuff on finger control .He seems like a nice fellow, but that's not the first reason I listen to someone. So, we're back to drumming...what or why does Marco "do it" for anyone? Is this a new thread?

And thanks to all for the Carey report. I might not dig his philosophical vibe, but am interested in why so many enjoy his drumming.

**FlamTriplet** · May 31st, 2003, 03:41 PM

Carey is a decent drummer. Most of his riffs seem to come from the music, which is a good thing. It's nice to have a pop band blowing odd meter. It's good for the kids. He's definately no Marco Minnemann, but I do prefer him than "Port". [img]graemlins/cry_smile.gif[/img] [img]graemlins/devil.gif[/img]

**five eight** · May 31st, 2003, 03:46 PM

Derek, I never heard any live Tool, are they as faithful as Rush is to their music or do 'improvise?'

**buga** · May 31st, 2003, 06:16 PM

why not just check the guy out and come up with your own opinions and conclusions? seems like the logical thing!)

To me Marco's playing resembles those pool players that only practice playing "tricks" and bouncing the ball off the rail and all that crap, that's the only thing he's been taught(or that he choose to pursue-like Donati mentioned on MD recently, as a drummer or player u chooose two paths, achieving technical greatness or just playing for the song and grooving away)

His playing on Paul Gilbert's "Burning Organ" bores me to tears if u want me to be honest..and I remember reading somewhere(probably here), that he covered "Mercy Mercy Mercy" at a clinic and couldn't swing nor blow through the changes/transitions to save his life, that alone speaks for itself, then again Weckl's performance of that tune isn't to convincing OOPS!)

and while Carey's independence isn't as "advanced"(and who's actually counting once you reach THAT level)his playing appeals more to me from a musical perspective than Marco's Chop's Fest...listen to "Anima" and "Lateralus"(those are the last 2 Tool records, but if you want to sample or download the songs before buying the records heck out "46 and 2", "Eulogy", "Ticks and Leeches" ."The Grudge", "Parabola", "Reflections" and "Triad" ). For sum "extra info" Carey formed a "super group" with Claypool(ex Primus)and Belew(King Crimson), that's the last ive heard from him(and he's also recording a DVD, btw Carey isn't as young as u would expect, he's in his 30's!), there are sum nice pics and info at DrummerWorld.com.=

http://www.drummerworld.com/drummers/Danny_Carey.html

<font color="#a62a2a" size="1">[ May 31, 2003 03:58 PM: Message edited by: Bozzio ]</font>

<font color="#a62a2a" size="1">[ May 31, 2003 04:05 PM: Message edited by: Bozzio ]</font>

**buga** · May 31st, 2003, 11:32 PM

a little bump here(sorry guys)....

I just went over to Carey's Site(dannycarey.org)

there are sum nice answers on the FAQ, u maybe surprise by his influences and books he's studied from

<BLOCKQUOTE><font size=2 face="Verdana, Helvetica, sans-serif">quote:</font><table border="0" width="90%" bgcolor="#333333" cellspacing="1" cellpadding="0"><tr><td width="100%"><table border="0" width="100%" cellspacing="0" cellpadding="2" bgcolor="#FF9900"><tr><td width="100%" bgcolor=""><font size=2 face="Verdana, Helvetica, sans-serif">Q - Who are your influences?

A - In the drumming world I would count Ringo Starr, John Bonham, Bill Bruford, Carl Palmer, Billy Cobham, Tony Williams, Alan White, Barrymore Barlow, Clive Bunker, Lenny White, Terry Bozzio, Vinnie Coliauta, Steve Jansen, Pat Mastalotto, Louis Bellson, Buddy Rich, Omar Hakim, Alex Acuna, Zakir Hussain, Aloke Dutta, Paco Sery, Elvin Jones, Peter Erskin, Steve Gadd, FM Einheit, Chad Wackerman, Martin Atkins, cEvin Cey, Yukihiro Takahashi, Stewart Copeland, Tommy Aldridge, and Dennis Chambers as my major influences.</font></td></tr></table></td></tr></table></BLOCKQUOTE>

<BLOCKQUOTE><font size=2 face="Verdana, Helvetica, sans-serif">quote:</font><table border="0" width="90%" bgcolor="#333333" cellspacing="1" cellpadding="0"><tr><td width="100%"><table border="0" width="100%" cellspacing="0" cellpadding="2" bgcolor="#FF9900"><tr><td width="100%" bgcolor=""><font size=2 face="Verdana, Helvetica, sans-serif"> Q - What drumming material would you recommend studying?

A - I can only say what worked for me. This is very subjective and a good instructor is very important in finding your weaknesses and applying the right curriculum. I benefited greatly from doing various rudimental exercises and studies for my hands along with working out of these books with my teachers:

"Advanced Techniques for the Modern Drummer" by Jim Chapin

"Four Way Coordination" by Elliot Fine and Marvin Dahlgren

"New Breed" by Gary Chester</font></td></tr></table></td></tr></table></BLOCKQUOTE>

<BLOCKQUOTE><font size=2 face="Verdana, Helvetica, sans-serif">quote:</font><table border="0" width="90%" bgcolor="#333333" cellspacing="1" cellpadding="0"><tr><td width="100%"><table border="0" width="100%" cellspacing="0" cellpadding="2" bgcolor="#FF9900"><tr><td width="100%" bgcolor=""><font size=2 face="Verdana, Helvetica, sans-serif">Q: When I asked my teacher if he had heard your playing he said that he doesn't condone your negative message. I responded that in my ten years of listening to your music I have yet to find anything negative and asked him if it was because of your occult fascination. He said it was and that alloccult is evil/"satanic". This bothers me because this is a man who has been studying rhythm his whole life and cant come to appreciate what you play because of some conviction. What would you say?

A: Unfortunately, I have found that there is not much you can say to people like your teacher. For some, knowledge is a scary thing that could tear down the walls of their little fortress they have spent many years building and reinforcing around themselves, so its much easier to label something as "evil" rather than have their security jeopardized, and leave themselves vulnerable to infinite chaos. I have found that courage is always rewarded when trying to find truth and beauty for what it is, rather than what someone has told you it is. I say always trust in your own divinity and your explorations will not go unfulfilled, and by the way, the word occult simply means hidden.</font></td></tr></table></td></tr></table></BLOCKQUOTE>

<BLOCKQUOTE><font size=2 face="Verdana, Helvetica, sans-serif">quote:</font><table border="0" width="90%" bgcolor="#333333" cellspacing="1" cellpadding="0"><tr><td width="100%"><table border="0" width="100%" cellspacing="0" cellpadding="2" bgcolor="#FF9900"><tr><td width="100%" bgcolor=""><font size=2 face="Verdana, Helvetica, sans-serif"> Q - How did your lessons with Aloke Dutta benefit you in your development as a drummer?

A - The benefits that first come to mind were an increased comfort with poly-rhythms and hemiolas, an improved inner clock development, increased finger dexterity, and a vastly extended drumming vocabulary. The benefits of learning a whole other drumming language are too numerous to mention here, but could be likened to a history or literature scholar learning another language. Suddenly you have another whole world opened up before you and the hard part is not getting completely lost in it. If you have the time there's nothing wrong with that, but finding connections that were applicable to my goals made more sense to me. The challenge now is to keep from spreading myself too thin. An entire lifetime could easily be spent on studying Tabla and east Indian music, and Aloke is an extremely well versed teacher that makes this very obvious.</font></td></tr></table></td></tr></table></BLOCKQUOTE>

<font color="#a62a2a" size="1">[ May 31, 2003 09:10 PM: Message edited by: Bozzio ]</font>

**Clintuplet** · June 1st, 2003, 01:42 AM

Although not a Danny Carey post, a quick post for those interested in Aloke Dutta. I saw him in Nashville a few years ago at the Nashville Percussion Institute. He was playing with Roy 'Futureman' Wooten.(Futureman was playing assorted percussion and even drumset for a bit, no electronic stuff) Aloke was on fire!!! First tabla player I'd seen in person. He played his version of Max Roach's 'For Big Sid' and the needle was in the red!!!! The variety of sounds coming from those two small drums was staggering and after a brief moment of contemplating putting my DWs on Ebay I was inspired to try to coax more sounds from my kit.
If I'm not mistaken Gregg Bissonette has studied with Aloke.

"For sum "extra info" Carey formed a "super group" with Claypool(ex Primus)and Belew(King Crimson)" Bozzio, did they make a recording?

Clint