D100 Drummer Reports

Nick D’Virgilio
Drummer Report By:
Steve Such
RECENT DISCOGRAPHY
2004
MIKE KENEALLY BAND
Dog (available in Spring, 2004)
drums, computer programming
notes from ndv
2003
SPOCK'S BEARD
Feel Euphoria (Inside Out)
BRYAN BELLER
View (Onion Boy Records)
lead & backing vocals, drums, guitar,
percussion, computer programing,
songwriting
engineer, mixer
notes from ndv
notes from ndv
A FAIR FORGERY
Pink Floyd Tribute (Stanley
Recordings)
drums
notes from ndv
2002
SPOCK'S BEARD
Snow (Inside Out/Metal Blade)
PAUL ALAN
Fall Awake
drums, percussion, vocals, engineer,
songwriting
drums
She's The Reason (mp3)
Looking For Answers (mp3)
Devil's Got My Throat - reprise (mp3)
notes from ndv
notes from ndv
RYO OKUMOTO
Coming Through (Inside Out)
THE RUBINOOS
Crimes Against Music
drums, vocals, songwriter
drums
notes from ndv
notes from ndv
DAVID BAERWALD
Here Comes The New Folk
Underground (Lost Highway)
KAVIAR
The Kaviar Sessions (KMG)
drums, vocals
drums, bass, vocals, songwriting,
engineering
notes from ndv
notes from ndv
LANA LANE
Covers Colection (Think Tank)
drums
2001
NEAL MORSE
It's Not Too Late (Radiant
Records)
KYLE VINCENT
Wow & Flutter (Song Tree
Records)
drums
drums, backing vocals, engineer
The Change (mp3)
It's Not Too Late (mp3)
Invisible Man (mp3)
She's Top 40 (mp3)
ROLAND ORZABAL
Tomcats Screaming Outside
(Eagle Records)
drums
GEAR
My main kit is a Mapex Orion Series 7 piece kit with
gold flake paint. The number of pieces always
changes though depending on the stuation but
usually it goes like this:
A - 22 x 18" kick drum
B - 10 x 6 1/4" rack tom
C - 12 x 7 1/2" rack tom
D - 14 x 9 3/4" floor tom
E - 16 x 13 3/4 floor tom
F - 14 x 5 1/2" Maple "Black Panther" snare drum
G - 10 X 5" Maple "Black Panther" snare drum
All the pedals and hardware are Mapex. I use
Aquarian drumheads. On the toms I use the "Jack
De Johnette"signature heads for the top and the
standard "Classic Clear" heads for the bottoms. On
the snare drums I use the "Texture Coated" heads
for the tops and "Classic Clear" snare side heads for
the bottoms. On the kick drum I use the "Texture
Coated Super Kick" single ply for the beater side
and a "Regulator" series head for the front with the
small 4 3/4" hole.
INTERVIEW
Do you have any "formal" music training and can you read drum/percussion charts?
I was self taught from the time I started about 3 or 4 until I went to music school, The Dick
Grove School of Music, when I was 17. Since then, I have studied a lot and yes, I can read
percussion parts, although I don't get a chance to use that knowledge very much.
Did you ever have private instruction? Who was it from?
I have studied with Dave Garabaldi, Chad Wakerman, Richard Wilson, Chuck Silverman, and
Roy Burns.
Did you ever perform/play with your school band or orchestra, or any other "non-rock
band" musical situation?
I have done many non-rock band gigs. Plays and musicals and things like that, but I didn't
play in my high school band, if that is what you mean. I played in Jr. high school, but I played
brass instruments like trumpet and french horn. When I went into high school, I decided I
should play drums, and tried out for the band. I won the head tri-tom position. I thought that
would be very cool and fun. Well, waking up at 6:30 in the morning to go march around the
school parking lot with that very heavy thing on my shoulders was NOT what I wanted to do. I
know that sounds wimpy, but I wanted to rock way more. So, I quit that and just played in my
room until my first band came along, which was not that much longer after that.
What songs, albums, musicians, etc. have been your biggest inspirations or favorites?
That's too hard of a question to answer, but I can say that Genesis was my favorite band
growing up as a kid, with Led Zeppelin a very close second. After that, there are just too
many to mention.
Who are your favorite songwriters and composers?
Lennon/McCartney, Peter Gabriel, Prince, Elvis Costello, David Sylvian, Roland Orzabal,
Kevin Gilbert, Joni Mitchell
Do you listen to electronic music?
Yes. I like drum-n-bass stuff a lot. I love Nine Inch Nails kind of stuff very much too. I really
dig programming and working with loops, so I listen to as much as I can to learn how it all
works.
How did Spock's Beard form?
I met Neal and Al at a blues jam here in LA way back in 1991.
We happened to sit in with the band together. Played some
blues thing. After that we got to talking and hooked up from
there really. I went to Neal's place and got a tape of some songs
he had been working on which happened to be the whole "The
Light" record. He and Al had been talking about starting a band.
They asked me and off we went.
Heralded by The Chicago Tribune for his "unfailing taste, technique and discipline,"
Chicago based percussionist Glenn Kotche's exploration of rhythm and space began in
childhood in Roselle, Illinois. His interests and efforts landed him at the University of
Kentucky's highly-regarded percussion program.
Following graduation, Kotche's various stints with groups and ensembles resulted in
participation on more than 70 recordings to date. In 2001, he joined the rock band, Wilco.
Since joining as drummer/percussionist, Wilco's accomplishments include the goldselling album “Yankee Hotel Foxtrot” and the Grammy-winning “A ghost is born”.
Beyond Wilco, Kotche is also one-third of experimental rock trio, Loose Fur, along with
Wilco band mate Jeff Tweedy and post-classical composer/producer Jim O'Rourke,
which released their self-titled album in 2003. He is half of jazz, experimental duo, On
Fillmore, with bassist Darin Gray. Their latest recording, “Sleeps with Fishes”, landed
them at the prestigious 2005 Percussion Pan Festival in Brazil.
Kotche has released two previous solo works, “Introducing” and “Next”. His third solo
effort, “Mobile”, will be released in early 2006, on Nonesuch Records.
Glenn Kotche
“Mobile”
Nonesuch Records
Glenn Kotche
“Introducing”
Quakebasket/Locust
Glenn Kotche
“Next”
Quakebasket
Loose Fur
"Born Again in the USA"
Drag City Records
The Minus 5
"The Gun Album"
Yep Roc Records
Fred Lonberg-Holm Quartet
"Bridges Freeze Before
Roads"
Longbox Recordings
Loose Fur
Self-Titled
Drag City Records
On Fillmore
“Sleeps with Fishes”
Quakebasket/Drag City
On Fillmore
Self-Titled
Quakebasket/Locust
Wilco
“Kicking Television”
Nonesuch Records
Wilco
“A Ghost is Born”
Nonesuch Records
Wilco
“Yankee Hotel Foxtrot”
Nonesuch Records
Jim O'Rourke
“Insignificance”
Drag City Records
Jim O'Rourke
“Eureka”
Drag City Records
Jim O'Rourke
“Halfway to a Threeway ”
Drag City Records
Sean Watkins
"Blinders On"
Sugar Hill Records
Barnes/Kotche Duo
“Domo Domo”
Quakebasket
Barnes/Kotche Duo
“The Fern Emerges”
Cubic Music
Dennis Chambers
Report and Transcription by Samuel Gordon Stern
Biography
My name is Dennis Chambers. I started playing drums at the
age of 4, and by the age of 6 I was playing in night clubs. I
had no former education in music. All my musical training
came from playing in night clubs. At the age of 18 I went
from high school to a band called "Parliament and
Funkadelic". I joined the band in 1978 and played with them
until 1985. Starting in 1985, I did a lot of session work in
New York and was the house drummer for "Sugar Hill
Record Company". After that, I joined "Special EFX" in 1985.
In 1987 I joined the "David Sanborn Band" and the "John
Scofield Band" which ended in 1989. Shortly afterwards I
joined the "Mike Stern/Bob Berg Band". Since then I have
been playing in various other bands such as: Randy
Breckers Band and Michael Breckers Band/Mike Urbaniak's
Band/Bill Evans Band/CTI All Stars/George Duke/Stanley
Clark's Band/Steve Kahn's Eyewitness Band/John
McLaughlin Band. I have also recorded my own record
called "Getting Even" on Pioneer Records, and an
instructional video on DCI.
Discography
Title
1983 P-Funk All Stars
Live at the Beverly Theater in
Westbound
Hollywood
All
1986 John Scofield
Blue Matter
Gramavision
All
1987 John Scofield
Loud Jazz
Gramavision
All
1987 John Scofield
Pick Hits Live
Gramavision
All
1989 Gary Thomas
By All Means Necessary
JMT
All
1991 Dennis Chambers
Getting Even
Glass House
All
1995 Steely Dan
Alive in America
Giant
-
2002 Dennis Chambers
Outbreak
Esc Recors
All
Extraction
Tone Center
Records
All
2003
Howe, Wooten,
Chambers
Label
Tracks
Played
Year Artist
Setup Diagram and List
Heads:
Evns ST Dry on Snare
Batter
Genera G2s on tops of
Toms
Hardware
Pearl , Powershifter
Double
Pedal
Drum Frame
Sticks
Zildjan Dennis
Chambers Model
Cymbals: Zildjan
16" K Custom Dark
1
Crash
14" Mastersound Hi2
Hats
18" K Custom Dark
3
Crash
4 22" Custom Ride
17" K Custom Dark
5
Crash
12" Special Recording
6
Hi-Hats
7 20" K Prototype China
Drums: Pearl
Masterworks Series Maple
6.5 x 14 Dennis
A
Chambers Model
B 8 x 10 Tom
C 8 x 12 Tom
D 9 x 13 Tom
E 14 x 14 FloorTom
F 16 x 16 FloorTom
G 16 x 18 FloorTom
H 16 x 22 Bass Drum
Jon Theodore
Report and Transcription by:
Gregory Mueller
History
Theodore first started playing drums at the age of 15. He was soon involved with his high
school concert band and took lessons on a full kit shortly after. It was at this point that he
studied percussion and learned how to map arrangements; dedicated practice had already
become a daily habit. He also listened to a great variety of music, growing to love the
likes of Billy Cobham, Elvin Jones and John Bonham.
Around the end of his time in high school, he joined the band Golden and recorded and
toured with them for ten years. It was during this time that he met Cedric Bixler Zavala
and Omar Rodriguez-Lopez, who were performing their first gig with their experimental
dub band DeFacto in El Paso, TX. They became friends and the former At The Drive-In
duo would later invite Theodore to join their latin-tinged prog-rock band, The Mars
Volta, with whom he currently tours and records. He also played with Royal Trux for a
year-and-a-half prior to joining The Mars Volta.
In his spare time Theodore surfs.
Influences
Theodore draws inspiration from many different forms of music but those most prevalent
in his playing are jazz, fusion, and rock. He has also touched upon another factor which
adds to his individual style - "Then there's a whole bunch of stuff from Haïti because my
dad's Haïtian. My favorite Haïtian drummer is this guy called Azor... ...The Haïtian
music that moves me has the drumming from the voodoo rituals. It moves me because the
patterns are connected to different spirits; it's a spiritual thing that is interconnected with
dancing, sacrifice and devotion. It's fully passionate. There is nothing contrived about it."
In interviews he regularly cites Billy Cobham of The Mahavishnu Orchestra as his main
drumming influence: "My all-time favorite drummer is Billy Cobham. I love the way he
plays... ...[his] playing is so natural, powerful and dynamic at the same time. I pattern a
lot of stuff after him.". He has also been heavily inspired by John Bonham of Led
Zeppelin: "He had one of the best feels in the history of rock... ...because [of him] I try
and play with as much bombast as I possibly can."
He has also mentioned the following:
Elvin Jones (Independent, John Coltrane Quartet)
Keith Moon (The Who)
Phil Rudd (Independent)
Tony Williams (Independent)
Sebastian Thomson (Trans Am)
Tim Soete (The Fucking Champs)
Herbie Hancock (Herbie And The Headhunters)
Doug Scharin (June of '44)
Joseph "Zigaboo" Modeliste (The Meters)
Mitchell Feldstein (Lung Fish)
Damon Che (Don Caballero)
Dale Crover (The Melvins)
John Herndon (Tortoise)
Ryan Rapsys (Euphone)
Brann Dailor (Mastodon)
Discography
Golden - Golden
Golden - Super Golden Original Movement
Golden - Golden Summer
Golden - Apollo Stars
The Mars Volta - Tremulant
The Mars Volta - De-Loused In The Comatorium
The Mars Volta - Live EP
The Mars Volta - Frances The Mute
The Mars Volta - Scabdates
Royal Trux - Veterans Of Disorder
HIM - New Features
HIM - Five & Six In Dub
Will Oldham - Ease Down the Road
Trans AM - Illegal Ass EP
SaberTooth Tiger - Death Valley b/w Love Money (GSL 12th Anniversary Single)
Utada - Exodus
Setup
Fabrizio Moretti
Report and transcription by Alex Cohen
Biography
(Courtesy of http://www.wikipedia.org)
Fabrizio Moretti (nicknamed “Fab”) is the drummer in The Strokes. He was born on
June 2, 1980, in Rio de Janeiro, to an Italian father and a Brazilian mother. Fabrizio
has a brother and a sister. He was raised Christian but has stated that he is an
atheist.
At the age of three he moved to New York City and became interested in drumming.
At age five he started playing the drums and practiced in a soundproofed closet. At
the age of 13, Moretti met future bandmates Julian Casablancas and Nick Valensi at
the Dwight School in New York (Central Park West). Fab wanted to be an art teacher
when in high school and went to college with a major in sculpture. However, he soon
realized that his exceptional talent for drumming could get him much further in life
and soon dropped out of college to join the band.
He has been dating Drew Barrymore since 2001. Rumors of engagement have also
arisen several times, but nothing has been confirmed as of yet.
He is the cofounder and chairman of the Judi foundation, “a Public Non Profit
Corporation whose mission is to raise money to finance research for finding a cure
for juvenile diabetes, with particular focus on an instance of the disease known as
Latent Autoimmune Diabetes in Adults (LADA)”.
Discography
(Courtesy of http://www.music.aol.com)
Albums
First Impressions of Earth (2006)
Room On Fire (2003)
Is This It (2001)
EPs/Singles
Juicebox/Hawaii (2005)
Juicebox, Pt. 2 (2005)
The End Has No End (2005)
Reptilia/Modern Girls and Old Fashioned Men (2004)
Reptilia (2004)
12:51 (2003)
Last Nite/Last Nite Live (2003)
12:51/The Way It is (2003)
Someday [Canada CD] (2003)
Last Nite [US CD-5] (2003)
Interview with Modern Drummer
(Courtesy of http://www.moderndrummer.com)
Fabrizio Moretti: Sculpting Rock ‘N’ Roll
By Jim DeRogatos
Watch twenty-three-year-old Fabrizio Moretti in action with The Strokes, and you’ll
see an elegant simplicity, an economy of motion, and an almost machine-like
precision. It’s no surprise to learn that in addition to studying music, he attended art
school for sculpture, where he built elegant constructions out of discarded pieces of
metal, crafting robotic figures that mimicked basic human movements.
“It was all about communications,” Moretti says. “I remember one that was a sort of
noisemaking machine, with an arm that bounced back on a metal plate.” That
sounds like exactly the sort of sculpture that a drummer would make. “Yeah, I guess
it does,” he says, laughing.
Raised in midtown Manhattan, where neighbors tend to frown upon aspiring
drummers, Moretti spent his early years banging away in a soundproofed closet. “I
padded the walls, I padded the drums, I padded everything,” he says. “My mom was
horrified, and so were the neighbors.”
The Strokes are Moretti’s first band. He has known singer Julian Casablancas and
guitarist Nick Valensi since their days together at Dwight High School. They knocked
the rock world on its ear in 2001 with their RCA debut, Is This It. Critics hailed the
group’s mix of Velvet Underground drones, hyper-rhythmic guitars, undeniable
hooks—and a killer backbeat. The Strokes were branded as the standard bearers of a
new scene that represented the biggest burst of energy in the Big Apple since the
mid-’70s uprising at C.B.G.B.: Here was “the new wave of new wave.”
Now the group (which is completed by guitarist Albert Hammond Jr. and bassist
Nikolai Fraiture) is back with an equally strong second album, Room On Fire, which
builds on the basic sound by incorporating diverse influences ranging from ’50s doowop to dub reggae. It stands as another collection of perfectly crafted rock songs,
with every interlocking part a paradigm of tuneful minimalism.
Moretti clearly has a lot to be proud of in his musical career, and his personal life is
going just as well: He’s dating actress Drew Barrymore. MD spoke with him after The
Strokes’ first American tour in support of Room On Fire, when the band returned
home to New York to perform a monthly residency on The Conan O’Brien Show.
MD: So you’ve been performing every Tuesday for a month on The Conan O’Brien
Show. Do you like playing on TV?
Fab: To be honest with you, I’ve never done anything that’s more nerve-wracking.
It’s like a show—you get the same kind of nervousness that you do when you’re
about to go onstage. But the problem is that it’s only one song and you’re not able to
get into it, plus you know that it’s going to be projected into millions of people’s
houses. There’s something very freaky and ghostlike about it.
MD: It must be hard to come right out of the box and be good.
Fab: Exactly. That’s why there’s a whole lot of jumping about backstage and a lot of
yelling right before we go on.
MD: How did you feel the initial US tour went?
Fab: It went really well. It was cool, because we sort of had to prove ourselves a
little bit, like we did in the beginning. It felt like we were almost a different band,
coming back on the second record.
MD: When I saw you in Chicago, I thought you played really well. It never ceases to
amaze me how tight the group is.
Fab: I should start out by saying we’re all really close friends. We don’t have any
egos to climb over. I’ve known Julian and Nick since I was thirteen. We’ve built this
friendship and learned our musical tastes from each other. You can’t hide anything
from a friendship like that. You kind of step into the situation showing your cards. In
my case, it’s hard to be like a simple drummer who doesn’t play all over the place.
But there’s something soothing about having my friends all around me, egging me
on to do certain parts as we’re arranging the songs.
MD: It seems as if everyone in The Strokes intensely listens to one another. Each
part is so wonderfully crafted and everything fits together so meticulously. Do you
really put each song under the microscope?
Fab: Oh yeah, absolutely, for hours and hours. It’s similar to a machine in that every
cog has its moments of up and down. When one part of the machine is at its lowest
point of rotation, the other part is at its highest, and that’s the only way that the
machine works. It’s just like any other art form, like when you paint something or
build a sculpture and it finally clicks and you can’t put another stroke to it—no pun
intended! You feel that sense of satisfaction that it’s finally finished. And it might
seem finished for the longest time, but something might be missing, as small as one
crash.
MD: When we’re talking about something specific in the drum part—like dropping out
of a 16th-note ride and going to flams on the snare—is that something where Julian
says, “I want you to do this”? Or will you try different things and inject them into a
song?
Fab: He’s very specific about how he wants a song to come out. But what’s beautiful
about the way Julian works is that he’s open to anything. I don’t know if you were
talking about the song “The Way It Is,” when I go from the ride to flams on the
snare, but stuff like that comes about from playing the part over and over again and
trying a whole bunch of different things. Sometimes it comes from someone
describing a mood that they want to set, and sometimes it just comes as a fluke. But
a lot of the times, it’s just a certain amount of discipline, playing the song over and
over again—or just playing the part over and over again—and thinking of as many
things as you possibly can.
Setup Diagram
(Courtesy of http://www.themusicedge.com)
Drums: Ludwig
(1) 22” x 16” Bass Drum
(2) 14” x 5 ½” Snare
(3) 13” x 9” Tom
(4) 16” x 16” Floor Tom
Cymbals: Zildjian
(A) 14” New Beat Hi-Hats
(B) 22” Custom Ride
Hardware: Ludwig, including a
Ludwig bass drum pedal
Heads: Remo and Evans
Vernel Fournier
Too White to be Black
Too Black to be White
Report and Transcription by Eric Mannweiler
Charles Walton: I remember one time in the '50s, around five a.m. the late Vernel
Fournier, Paul Gusman, and I were hanging out and having breakfast. I offered to drop
them off at their homes. We were driving along with Paul and I in the front seat and
Vernel in the back seat. An unmarked police car with three white detectives pulled us
over and approached us with guns drawn. We got out of the car and before they could say
a word I asked, “What is the problem, why did you stop us?” Before any one of the police
could answer Vernel said, “They think I’m white.” After hearing that comment, the
police without saying a word, immediately retreated to their car and drove off. Vernel,
who was of Creole descent, and I had previously discussed a number of times that he
wanted to write a book using the title, “Too White to Be Black and Too Black to Be
White”.
VERNEL FOURNIER - BIOGRAPHY
Vernel was born in 1928, in New Orleans. He started playing drums at 10,
participating in street concerts and parades. At 13, he played with the Young Swingsters,
who played frequently on Bourbon Street. During this time he was studying with New
Orleans drummer, Sidney Montague. He began playing bebop with the Dookie Chase
Orchestra at age 17. He went to Alabama State College fom ’45-46, playing with the
student orchestras. He then moved to Chicago after being asked to join King Kolax’s
groups. In 1953 he became the house drummer for The Beehive club. He was a member
of the house bad for Vee Jay Records in 1955, although he may have been a member
prior to and after that year. He joined Ahmad Jamal in 1957 and played until 1961, when
he worked with George Shearing and Nancy Wilson. In 1974, Vernel converted to Islam
and was given the name Amir Rushdan by the Honorable Elijah Muhammad. He moved
to New York in 1979, working with Clifford Jordan, Joe Williams, and Billy Eckstein.
He also began teaching at The Mannes College of Music, Barry Harris’ Jazz Culture
Theater, and The New School. He formed his own trio that gigged around the city, and in
1991 recorded “Vernel Fournier Trio” on the TCB label in Switzerland. He also recorded
at this time with the Red Hot Peppers a Swiss Dixieland Jazz Band, on the Horn label.
This, according to Sabreen Fournier-Williams, his ex-wife, was Vernel’s favorite
example of his playing. In 1994 his suffered a stroke on the way to a show, which ended
his playing career. He continued to teach until 1998, when he moved to Jackson,
Mississippi to live with his “Chicago” children. He died of complications from the
stroke, at the age of 72, on November 4th, 2000.
SETUP INFORMATION
Though I have searched extensively, and most everyone that I could think of, I
have not found any description of Vernel’s setup or brush/stick preference. I do know
that he used a Ludwig Supra-phonic snare drum, which appears to be 14x5 ½ inches. I
have seen multiple pictures of a small four piece kit, which my guess is a Gretsch kit. The
bass drum is not very tall, but not particularly shallow. In the booklet with his trio CD, he
has what look like 14inch hi-hats, some sort of crash, and an estimated 20inch ride
cymbal. On the Pershing album with Ahamd Jamal, he also has a riveted ride cymbal, but
I have been unsuccessful trying to learn any details of this show’s specific kit. In the trio
CD booklet, he wears a Zildjian hat, which makes me think he uses their brand of
cymbals.
Below is a picture of what I believe is his kit from the trio CD. (not from the CD notes)
*Discography
‘50’s- The Morrocos: Bang Goes my Heart
‘53- Paul Bascomb: Jukebox Jazz Part 1 &2
‘54 Wally Wilson & The Five Echoes: Group Three
‘54 The Flamingoes: Uggh
’55 The Fascinators: All I Want, Shake a Link, Slow Down, Baby
’55 The Chances with Lou Mac: The Golden Age of Doowops
’55 member of Vee Jay Records’ house band
’58 The Ahmad Jamal Trio: Live at the Pershing & the Spotlight
’58 The Ahmad Jamal Trio: Ahmad’s Blues
’60 Frank Strozier: Cool, Calm, and Collected
’60 Ahmad Jamal: Listen to the Ahmad Jamal Quintet
’60 George Shearing: The Swingin’s Mutual
’60 George Shearing: San Fransisco Scene
’60 Frank Strozier: Walz of the Demons
’60 Ahmad Jamal: Happy Moods
’61 Jamal: All of You
’61 Jamal: Ahambra
’61 Jamal: Ahmad Jamal at the Blackhawk
’61 Jimmy Reed: Jimmy Reed at Carnegie Hall
’62 George Shearing: Jazz Moments
’62 Sam Jones and Co.: Down Home
’62 Ahmad Jamal Trio: 1958-61 Cross County Tour
‘62 Jimmy Reed: His Greatest Recordings
’63 Gary Burton: 3 in Jazz
’64 Larry Novak: Larry Novak Plays
’65 Jamal: Extensions
’67 Jamal: Standard Eyes
’86 Billy Eckstein: Billy Eckstein Sings with Benny Carter
’86 Clifford Jordan: Royal Ballads
’87 Clifford Jordan Quartet: Live at Ethel’s
’87 Etta Jones: I’ll Be Seeing You
‘89 Archie Edwards: Blues ‘n Bones
’89 Keith Ingham: A Collection of Astaire,
’89 Keith Ingham: The Music of Victor Young
’91 Clifford Jordan Big Band: Down Through the Years- Live at Conon’s
’98 Etta Jones: Doin’ What She Does Best (?)
’99 Etta Jones: Ain’t She Sweet (?)
’99 Houston Person: A Little Houston on the Side (?)
b
Danny Carey
Report and Transcription by Neil Michalares
Biography
Danny began playing drums at the age of thirteen. As Danny progressed through
high school and then college at the University of Missouri in Kansas City he began
supplementing his studies in percussion with speculation into the principles of geometry,
science, and metaphysics. A commitment to life as an artist brought Danny to LA where
he was able to perform as a studio drummer with projects like Carole King and play
around town with Pygmy Love Circus. He would later find an outlet for addressing a
fuller scope of his potentials in Tool and another project operating under the title of
Zaum.
Discography
With Tool
•
1992 Opiate [EP]
•
1993 Undertow
•
1996 Aenima
•
2000 Salival
•
2001 Lateralus
Other Appearances
•
Collide Some Kind of Strange (2003) Drums, Engineer
•
Carole King Colour of Your Dreams (1993) Drums
Cymbals
Paiste
•
•
•
•
•
•
•
•
•
•
•
•
•
•
•
14” Sound Edge Hi Hats
12” Exotic Percussion flanger bell
13” Exotic Percussion mega cup chime
6” Exotic Percussion bell chime
#3 Exotic Percussion cup chime
#1 Exotic Percussion cup chime
6” 2002 bell
6” signature splash
8” signature splash
18” Power crash
12” Micro Hi-Hats
22” Dry Heavy Ride
20” Power Crash
22” Thin China
40” Symphonic Gong
Drums
Paiste Brass
• 2 18x22” Custom Cast Bass Drums
• 8x8” Custom Cast Rack
• 10x10” Custom Cast Rack
• 14x14” Custom Cast Floor
• 16x16” Custom Cast Floor
• 8x14” Spirit of 2002 Snare (custom)
Sonor Designer Series
• 2 18x22” Maple Bass Drums
• 8x8” Maple Rack
• 10x10” Maple Rack
• 14x14” Maple Floor
• 16x16” Maple Floor
• 7x14” Maple Snare