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.
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?")
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.
Buy Ted's music here!
