Can (band)

Context: Holger Czukay and Irmin Schmidt were both pupils of Karlheinz Stockhausen, and Can inherited a strong grounding in his musical theory; the latter was trained as a classical pianist, while Michael Karoli was a pupil of Holger Czukay and brought the influence of gypsy music through his esoteric studies. Drummer Jaki Liebezeit had strong jazz leanings. The band's sound was originally intended to be based on the sound of ethnic music, so when the band decided to pick up the garage rock sound, original member David Johnson left. This world music trend was later exemplified on albums such as Ege Bamyasi (the name meaning "Aegean okra" in Turkish), Future Days and Saw Delight, and by incorporating new band members with different nationalities. A series of tracks on Can albums, known as "Ethnological Forgery Series", abbreviated to "E.F.S", demonstrated the band's ability to successfully recreate ethnic-sounding music. They constructed their music largely through collective spontaneous composition, sampling themselves in the studio and editing down the results; bassist and chief engineer Czukay referred to Can's live and studio performances as "instant compositions".  The band's early rock influences include The Beatles and The Velvet Underground as well as Jimi Hendrix, Sly Stone and Frank Zappa. The band have admitted that the beginning of Can's "Father Cannot Yell" was inspired by the Velvet Underground's "European Son". Malcolm Mooney's voice has been compared to that of James Brown (an acknowledged hero of the band members) and their early style, rooted in psychedelic music, drew comparisons with Pink Floyd. Along with their peers in the krautrock scene, they were under the influence of the wider progressive rock movement taking place in England and elsewhere during the late 1960s and early 1970s. Czukay's extensive editing has occasionally been compared to the late-'60s music of trumpeter Miles Davis (such as In a Silent Way and Bitches Brew): Can and Davis both would record long groove-intensive improvisations, then edit the best bits together for their albums. Czukay and Teo Macero (Davis's producer and editor) both had roots in the musique concrete of the 1940s and '50s. Irmin Schmidt stated in a discussion with Michael Karoli in 1996 concerning the various citations of influences upon their music: "You know, it's funny that in spite of all the supposed influences on us that have been written about, the one overriding influence has never been mentioned: Michael von Biel."  Damo Suzuki was a very different singer from Mooney, with a multilingual (he claimed to sing in "the language of the Stone Age") and often inscrutable vocal style. With Suzuki, the band made their most critically and commercially successful albums. The rhythm section's work on Tago Mago has been especially praised: one critic writes that much of the album is based on "long improvisations built around hypnotic rhythm patterns"; another writes that "Halleluhwah" finds them "pounding out a monster trance/funk beat". CANNOTANSWER

Question: What did the other members in Cans do aside from Malcolm Mooney?
Answer: Can and Davis both would record long groove-intensive improvisations, then edit the best bits together for their albums.