Varner's first two recordings as a leader were influenced by Ornette Coleman, Steve Lacy, Charles Mingus, Anthony Braxton, and minimalists such as Steve Reich and Philip Glass, and featured Varner's horn with alto sax (Ed Jackson), bass (Fred Hopkins or Ed Schuller) and drums (Billy Hart), with no chordal instrument. His third recording was a more "straight-ahead" jazz project, with Kenny Barron, Jim Snidero, Mike Richmond, and Victor Lewis. The fourth project was a Sonny Rollins-influenced trio of horn, bass (Mike Richmond) and drums (Bobby Previte). From that point (1987) on, most of Varner's work as a leader was for a quintet of horn and two saxes, bass, and drums, with frequent guest artists augmenting the ensembles. Varner has combined contemporary chamber music with jazz and free improvisation in almost all of his subsequent projects. His recent work (finished in 2008, released 2009), Heaven and Hell, is for a tentet of three brass, five reeds, and bass and drums. His newest CD, Nine Surprises, is for a nonet of three brass, four reeds, and bass and drums, and was released in Fall 2014. It features Seattle players Mark Taylor, Steve Treseler, Eric Barber, Jim DeJoie, Thomas Marriott, David Marriott, Phil Sparks, and Byron Vannoy.
^Allen Huotari (June 1999). "Interview with Tom Varner". all about jazz. Archived from the original on 2010-01-16. Retrieved 2009-11-07. I saw Duke Ellington with my Mom and my piano teacher, Ms. Capitola Dickerson, in 1970... Later, at my Mom's funeral, Ms. Dickerson sang 'There Is A Balm In Gilead.'
^Luigi Santosuosso. "TOM VARNER INTERVIEW". Frank Tafuri. Archived from the original on 2002-03-23. Retrieved 2009-11-07. We all (I have two older sisters and one younger brother) took piano lessons also, starting around 8 years old. I loved my teacher Ms. Capitola Dickerson (she would play 78s of Art Tatum for me), but I was a terrible pianist!
