Danny Carey-Drummer

 Carey's popularity among drummers and non-drummers alike stems from the diversity of his sound and dynamics, his technical ability, frequent use of odd time signatures, polyrhythms(Polyrhythm is the simultaneous sounding of two or more independent rhythms. Polyrhythm in general is a nonspecific term for the simultaneous occurrence of two or more conflicting rhythms, of which cross-rhythm is a specific and definable subset Novotney (1998: 265) and polymeters. 

He has stated in interviews that he effectively treats his feet as he does his hands: he practices rudiments (used for sticking techniques) and even snare drum solos with his feet to improve his double bass drumming, hi-hat control and foot independence.

In search of new techniques, Carey has studied tabla with Aloke Dutta, who can be heard playing on the live version of the song "Pushit" (from Salival). This is especially apparent on tracks such as "Disposition" (Lateralus) or "Intension" (10,000 Days), for which Carey has recorded the tabla parts himself in studio. The tabla (and other percussive instruments) used in Tool's music are replicated live using the Mandala pads (in fact the pads are also used when recording in the studio, a notable example being the tabla solo of "Right in Two" from 10,000 Days).

He has also stated that when he is playing to an odd time signature, he tries to drum to the "feel" of the song and establish general "inner pulse" for the given time signature instead of fully counting it out.

Carey has been featured in many drum and music magazines.

Daniel Edwin "Danny" Carey (born May 10, 1961 in Lawrence, Kansas) is an American drummer best known for his work in American Grammy Award-winning rock band Tool. He has also contributed to albums by artists such as ZAUM, Green Jellÿ, Pigface, Skinny Puppy, Adrian Belew of King Crimson, Carole King, Collide, The Wild Blue Yonder, Lusk, and the Melvins Carey's first encounter with the drums began at the age of ten by joining the school band and taking private lessons on the snare drum. Two years later, Carey began to practice on a drum set. In his senior year of high school in Paola, Kansas, Carey joined the high school jazz band and began to study under drumming great Ben Kelso specifically for jazz drumming training. Jazz would later play a huge role in his signature approach to the drum set in a rock setting. As Carey progressed through high school and later college at the University of Missouri–Kansas City, he began expanding his studies in percussion with theory into the principles of geometry, science, and metaphysics as well as delving into Sacred Geometry and certain hidden aspects of life and the occult. Carey also played jazz while attending college and got to experience the jazz scene in Kansas City.

Danny then set up his drums into proportions utilizing the circle and square of the New Jerusalem and uttered a short prayer relating to the principles of the ace of swords from the book of Thoth. He then performed a ritual utilizing his new found knowledge of the unicursal hexagram to generate a pattern of movement in space relating to Fuller's vector equilibrium model.

This is a full-band effort of the type of “rhythmic layering” that had previously done by himself in other TOOL songs. My guess is that he taught the rest of the band the value in this

In summary, what makes Danny Carey special is not his technical chops, necessarily, it’s that he’s forged an outlet for that level of creativity on a mass scale. And how did he do this? Why didn’t TOOL follow a more traditional path of obscurity for such a progressive, strange band? After all, there are many studied, outstanding drummers who can play in a similar way to Danny. It’s his power and conviction that he displays while playing. There’s no overly exaggerated movements or flashy techniques. He merely exudes authority on his drum kit. The listener has no choice but to accept it, and if they stick with it, there’s always a big pay-off in the end.

By. Hridaynag Kooretti

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