Ted Warren - Drum Stories

I've known Ted Warren for over 30 years now. We're both originally from Regina, Saskatchewan although he's a few years ahead of me and he left town and moved out East well before I even started playing the drums.

However, his reputation was well-known around town even by the time I started to get into jazz drumming and I've always looked up to him as a musician and I've always admired his devotion and commitment to the study of the drums.

I think the first times I heard Ted play were on some great Canadian jazz recordings including pianist John Stetch's "Rectangle Man", with Rob McConnell and the Boss Brass "Overtime" and on bassist Mike Downes' "Forces".

The first time I heard Ted play live was at the Regina Jazz Society around 1994, in a trio with local musicians Jim Gallagher on piano and Peter Dyksman on bass (years later Jim and Peter would become good friends and musical colleagues of my own, as well). I was immediately struck by Ted's overwhelming musicality from behind the drum set and his deep creativity, all while dealing with the manipulation of time, form, melody and rhythm. 

I've always been really impressed and inspired by Ted's hard work ethic and incredibly creative approach to playing the drums. He truly sounds like himself from behind the kit (which is actually a hard thing to do in this day and age!)

Ted has been an active composer for a long time now and, lucky for us, he has also recently released an album of solo drum music. I've been looking forward to this for some time now, as I've also dabbled in solo drumming performances myself and will hopefully record my own project in the near future.

Ted was nice enough to take some time out of his schedule to answer a few questions for Four on the Floor about his new music:

Ted Warren - Drum Stories

1) Tell us about your latest recording!

My latest recording is entitled "Drum Stories" and is being released on QTM Recording Co.

2) How did you choose your repertoire and create your drum compositions? What was your process?

I went to my dear friend Mark Mariash's studio and improvised all the pieces in one day of recording. I was mainly looking for variety in tempo, dynamic and texture.

3) What inspired you to pursue the concept and vibe that you did?

The short answer is high ambition and a low budget! : ) I have wanted to do a solo drum recording for some time and Mark suggested I come by his place and just bang out an album's worth of material in one long session.

4) Was there a particular message you were trying to convey to the listener?

Yes! I think we're in an era when a lot of the drumming we see and hear, especially online, is people playing impossible technical stuff with no context. Even with the title "Drum Stories" I'm trying to get across that I want to take listeners on a journey, with a narrative. I'm doing different techniques and such, but I really hope that listeners will hear the stories, rather than just being focused on drum stuff.

5) Who are your influences with regards to your style of playing?

There are so many, some of which are referenced in the tune titles. I will say that when I heard the album, I was amazed how much of Papa Jo Jones I heard in what I was attempting to do. It makes sense though because my Dad hipped me to him early on in my drumming career.

6) What are you practicing/studying/listening to/researching these days?

I'm listening a lot these days for sound and swing feel, and I feel it's really improving my concept. Two recordings I've been enjoying lately are "The Young Lions" (w/Tootie Heath and Louis Hayes) and J.J. Johnson's "Proof Positive" (w/Frank Gant and Elvin on one track).

Practicing-wise, I've been working on my low dynamic range, the endless journey that is independent coordination, and work through books like 4-Way Coordination, The New Breed, and the Cirone and Delecluse classical snare books.

7) What other current and future projects do you have on the go at the moment?

I'm doing a CD release for the album at Silence in Guelph June 13th and I'm leading my second sextet gig playing my tunes at the end of May.

8) What drummers (or other musicians/composers) do you consider as influences?

Again so many, but a few might be: Wayne Shorter, Thelonious Monk, Tony Williams, John Bonham, Ringo Starr (and the Beatles in general), Max Roach, Howlin' Wolf. 

Also it changes all the time depending on what I'm listening to.

9) What advice do you have for younger, aspiring jazz musicians and jazz drummers?

I think a lot of younger players don't examine playing the ride cymbal in depth, and I can hear when they don't. I would recommend spending a lot of time listening to and practicing this fundamental art...

10) Houston or Western? (which sauce is "the boss?")

Oddly enough, I'm in Regina while doing this interview and I have had both recently and Houston edged it out slightly, although I'm now convinced that Juliana is better than both of them : )

Ted Warren - Drum Stories

Drum Stories finds Ted Warren turning his attention to the drum set as a fully expressive solo instrument. Across 17 contrasting improvised pieces, the newly released recording explores the many voices of drums and cymbals with imagination, nuance, and boldness—moving between delicacy and force, pulse and freedom, while honouring tradition and pushing beyond convention. The result is a strikingly personal and adventurous sonic journey.

Ted Warren is one of Canada’s most respected and versatile jazz drummers, known for his dynamic touch, deep groove, and instinctive musicality. A sought-after performer, bandleader, and educator, he has built a distinguished career at the heart of Canada’s jazz scene, performing with artists including Kenny Wheeler, Mike Murley, Sheila Jordan, Slide Hampton, Jeff Healey, and Chuck Mangione. As a longtime member of the legendary Boss Brass, Warren appears on six recordings, including Velvet and Brass with Mel Tormé and From Lush to Lively with Oliver Jones. His playing is also featured on Richard Underhill’s Juno Award winning Tales from the Blue Lounge and Mike Murley’s Conversation Piece, named Jazz Report’s Album of the Year. He was honoured with the Jazz Report Drummer of the Year award.

As a composer and bandleader, Warren leads his modern jazz quartet, Ted’s Warren Commission, an ensemble praised for its adventurous interplay and inventive writing. The group has released three independent recordings, including First Time Caller, named one of CODA Magazine’s top ten jazz recordings of the year. Warren is also deeply committed to music education and mentorship. His studies include McGill University, St. Francis Xavier University, Thompson Rivers University, and a Master’s in Community Music from Wilfrid Laurier University, where he now serves on the jazz faculty. On stage, in the studio, and in the classroom, he continues to shape the sound and future of Canadian jazz.

https://tqmrecordingco.com/

Buy  Ted's music here!

https://tqmrecordingco.com/buy

All The Things You Are: Kendrick Scott & Warren Wolf

Another fantastic instalment from the SFJAZZ Alone Together series featuring the wonderful pairing of Warren Wolf on vibraphone and Kendrick Scott on drums, improvising over the timeless standard All the Things You Are:

Valérie Lacombe - State of Garden and Shadow

I was very excited to hear that Montreal's Valérie Lacombe had released a new album of her original music and I'm also really looking forward to seeing her perform in Calgary, AB with her band later this month. Being an aspiring drummer/composer myself (and also a fellow McGill grad!) I was a particularly interested in Valérie's approach to writing music and leading a band. As you'll read below, she has put a lot of thought and hard work into this project. Check it out.

Valérie Lacombe - Stage of Garden and Shadow

1) Tell us about your latest recording!

State of Garden and Shadow is an album of seven original compositions and one piece by Benny Golson. I wrote it during my master’s degree at McGill University while studying with Kevin Dean and Darrell Green. Writing a full album in such a short period of time was a first for me, and the process really introduced me to myself as a composer; the sounds I naturally gravitate toward, the emotional spaces I return to, and the kinds of stories I want to tell through music. The title was inspired by Água Viva by Clarice Lispector, a chaotic and deeply introspective stream-of-consciousness novel that explores identity, loneliness, beauty, and transformation. The book moves between light and darkness, tenderness and ugliness, and throughout it there’s a profound respect for art as both a refuge and a way of making sense of being alive. I connected deeply with that emotional landscape while writing this music, and the phrase “state of garden and shadow” eventually imposed itself on the project. In the novel, Lispector uses the phrase to describe a fragile state of freedom and creativity, a moment of feeling intensely alive, while also confronting the unknown and more unsettling parts of oneself.

2) How did you choose your repertoire and sidemen?

I knew from the beginning that I wanted the album to be made up mostly of original music. I really fell in love with the compositional process, and because all of these pieces were written within the span of a few months, they naturally felt connected to one another, like they belonged to the same emotional and sonic world. I was especially interested in writing for a chord-less quartet and experimenting with ways harmony could still be deeply felt without a chordal instrument, through arrangement, counterpoint, and the blending of two horns. The writing process itself felt surprisingly intuitive, almost passive at first. Kevin Dean encouraged me to sit quietly, listen to what I heard in my head, and record melodic ideas as voice memos. Later, I would transcribe the ideas I connected with most and shape them further by adding bass movement, harmony, and form. Choosing the musicians was very natural. I knew I wanted to work with Caoilainn Power because we’ve been collaborating for years, and I deeply love her sound, creativity, and musical sensitivity. Camille Thurman and Ira Coleman are two artists I admire immensely and had the chance to meet through my studies at McGill University. I took a chance and asked if they would be interested in being part of the project, and I was so grateful when they both said yes. The recording process felt incredibly easy and collaborative because everyone immediately understood the aesthetic and spirit of the music. We also had Darrell Green producing the record, and his guidance made the whole experience feel supportive, focused, and genuinely fun.

3) What inspired you to pursue the vibe and instrumentation that you did?

The seed for this project was actually planted in 2017 after seeing a concert at Dièse Onze in Montreal. It was a project led by Kirk MacDonald featuring Pat LaBarbera, Kieran Overs, and Adam Nussbaum. The group was chord-less, and I remember being completely struck by the world they created together. It felt open, alive, and incredibly expressive, and I remember thinking, “If I ever have my own band, this is the kind of sound I want to explore.”

A lot of the album’s aesthetic also came from what I was listening to at the time (in 2024), especially late-60s and early-70s records by Elvin Jones like Puttin' It Together, The Ultimate, Poly-Currents, and Genesis. That sound was living in my ears and imagination while I was writing: the intensity, the drama, and especially the way those groups could imply harmony and atmosphere without relying on chordal instruments. There are also some very direct compositional inspirations throughout the album. For example, my tune “Who’s Afraid of Clarice Hana?” was heavily inspired by Frank Foster’s composition “Who’s Afraid…” from Merry-Go-Round. In the same way, my composition “Persona” draws a lot from Dave Liebman’s tune “Small One” from Live at the Lighthouse. Liebman’s writing, especially pieces like “New Breed” also taught me a lot about how to harmonize for two horns. I really connect with his aesthetic.

4) Was there a particular message you were trying to convey to the listener?

I think the main thing I wanted to convey is a sense of wonder toward art and being alive. This album comes from a place of really believing in the emotional and almost magical power of creating something and sharing it with other people.

5) Who are your influences with regards to your style of playing?

Elvin Jones and Jeff "Tain" Watts have both been huge influences on me because of the way they make the drum set feel alive, organic, and constantly in motion. Jimmy Cobb taught me so much about forward momentum and the power of the ride cymbal, while Kenny Washington inspires me through his total commitment and dedication to the music.

I’m also deeply influenced by Max Roach for his creativity and the language he developed on the instrument, Frankie Dunlop for his personality and swing, Joe Farnsworth for the heart and forcefulness of his playing, and Clifford Jarvis for his masterful comping.

Darrell Green has influenced me through his beautiful sound and his commitment to creativity in music, while André White stands out for his ability to always make the most supportive musical choice and never play anything out of place. I could honestly go on and on, it’s rare that I hear a drummer play and don’t come away influenced in some way.

6) What are you practicing/studying/listening to/researching these days?

Practicing: Wilcoxon (KWash method, if you know you know!)

Studying: the art of playing open drum solos. Trying to develop a more natural sense of form, pacing, and storytelling when there’s no fixed structure to lean on.

Listening: Miles Davis’ Walkin’, ‘Round About Midnight and Cannonball’s Somethin’ Else

Researching/Reading: Miles’ Autobiography

7) What other current and future projects do you have on the go at the moment?

This summer, I’ll be playing with The Ostara Project, and we’ll be doing a run of performances on the Canadian jazz festival circuit. I’m also hoping to continue touring my own project, State of Garden and Shadow, and would love to bring the music to more places, especially in Eastern Canada and the Maritimes.

8) How does the drums and your overall approach to rhythm factor into your album concept?

The drum parts weren’t something I designed separately from the compositions; they're part of the way I hear the music from the start. For me, rhythm isn’t an added layer, it’s embedded in the melodic and harmonic ideas themselves. So the rhythmic identity of each piece is already implied in the writing, even before anything is played.

9) What drummers (or other musicians/composers) do you consider as influences?

Andre White, Cedar Walton, Dave Liebman, Joe Henderson and Nicole Glover

10) What advice do you have for younger, aspiring jazz musicians and jazz drummers?

Be honest with yourself and do the work.

Learn more about Valérie on her website www.valerielacombe.com and Bandcamp page www.valerielacombe.bandcamp.com/album/state-of-garden-and-shadow

Steve Fidyk!

Fantastic brush playing and some words of wisdom today from Steve Fidyk thanks to the kind people over at Steve Weiss Music:

Sam Woodyard - Hi-Fi-Fo-Fum

Thanks to Mike Clark who shared via social media this fantastic clip of the great Sam Woodyard in action, featured with the Duke Ellington Orchestra: