Volume 30 Issue 5 | April & May 2025

HOMES FOR MUSICJazz by

HOMES FOR MUSICJazz by the book(s) atSELLERS &NEWELANDREW SCOTTPHOTOS: ANDREW SCOTTIn the recent Bob Dylan biopic, A Complete Unknown,there is an early moment in which TimothéeChalamet, as a young Dylan, performs alongside EdNorton as Pete Seeger at a hootenanny. In that scene,there is a passing shot of the actor Norbert Leo Butz asthe famous ethnomusicologist, Alan Lomax, ensconcedbehind mobile recording gear.Here as elsewhere, Lomax is portrayed as unflinchingly puritanical(he hated when Dylan “went electric”) and cantankerous. And while hemay well have been those things, the legacy of his recorded work, likethat of such other American sonic chroniclers as Harry Smith and DeanBenedetti, has proven invaluable for its documentation of musicians andmusical scenes that otherwise would have been lost to the annals of time.I was reminded of the importance of live music documentation, andof the often-unsung individuals behind this process, while attendinga recent concert at the great little Toronto bookshop Sellers & Newel(672 College Street). Trumpeter Kyle Pogline with his talented trioof pianist Eric Liang and bassist Max Simpson was there to performthe music of Kenny Dorham, and the evening was being recorded forfuture broadcast on CIUT-FM by Henry Lewis, the local station’s livemusic and events coordinator.At left, Mike T. Kerr with Max Simpson andJared Higgins; Peter Sellers at far right.It’s no accident that the cozy book shop – it seats approximately30 patrons – is now doing double-duty as a desirable site for liverecording. “The room is acoustically perfect,” elaborates guitarist MikeT. Kerr, who himself has just completed recording four live trio showsat S&N for a future album release. Kerr, a Canadian, grew up in theU.S. near Arlington, Virginia. He cites the DIY influence of Virginia’sindie-label “Dischord House” in the aughts in motivating him to pitchS&N proprietor Peter Sellers on the idea of recording there.“I learned after that initial concert,” states Sellers, “that the roomsounds great. But equally important is the fact that everyone in theaudience is respectful and listens, making this one of the quietestperformance and recording spaces in the city.”That rare combination of a great room sound, an engaged audience andthe abundance of musical talent in Toronto has resulted in some excellentnew releases: from Kerr, recorded trio sessions by saxophonist PatrickSmith, pianist Max Donaldson, and a solo recording by singer-songwriterPete Larkin. Clearly, the blue-chip environment S&N affords resonateswith musicians regardless of instrument or genre. “It is a really specialthing that has been happening here,” continues Kerr. “By making thisroom available for recordings, Peter is able to offer something to thecommunity that is accessible and can help those who cannot afford togo into a traditional studio for five days to make an album.”Kerr’s enthusiasm for live documentation connects him to thebootlegging archivists that followed and recorded blue-grass bands,festival performances, and yes, the Grateful Dead for eons, and whosecollective work has provided source material for generations of fledglingmusicians. CIUT’s Lewis sees his job in a similar vein – as animportant bridge between the more ephemeral aspects of the city’slive music scene and the permanence of the recorded artifact.“Documenting, chronicling and archiving what is happening in thecity right now is important,” states Lewis, who has brought his mobilerecording setup to events at Tapestry, Drom Taberna, 918 Bathurst, theMusic Gallery, as well as S&N. “While what I am doing is not particularlyunique,” he continues, “I feel lucky that I can capture great music thattakes place on one night and will never happen again quite the same way.”Kyle Pogline, a terrific young trumpeter who has recorded multiplelive dates at S&N and whose contributions to albums by vocalist CaityGyorgy have earned him two JUNO awards, agrees. “People who reallySELLERS & NEWEL30 | April & May 2025 thewholenote.com

care about music gravitate towardslive and bootleg recordings, especiallyin the world of jazz andBlack American music,” he states.Accordingly, Pogline and trio haveprioritized live recording to bothwork on their craft, and to capturethe in-the-moment experience ofthe music. “When playing live,” hecontinues, “your sole focus is theKyle Poglinepresent and trying to bring yourbest to each tune. As a result, recording in such a welcoming place asSellers helps capture more genuine and authentic musical moments.”The bookshop’s low ceiling, intimate listening environment, andchock-a-block books that act as impromptu recording baffles allcontribute mightily to the uniqueness of the space. As big a part of thesuccess of S&N’s performance and recording policy, however, is theproprietor himself. “While it is true that Sellers & Newel is among thecoolest spots in the city because of its DIY, casual, and low barrier ofentry approach,” states Lewis, “it is also because of Peter, who has thatrare combination of a great ear and a keen vision for picking the rightartists for the room. It is great that someone like him acts as a bit of agatekeeper to ensure the music is always special.”Fast approaching its ten-year anniversary as a live music venue,having hosted 385 shows since an inaugural Kevin Quain performanceon June 13, 2015, Sellers and Newel has no plans of slowing down.“I fell in love with jazz in my early twenties hearing bands at suchiconic places as Bourbon Street,” reminisces Sellers, whose 100-yearoldfamily piano is kept tuned and at the ready in the bookshop. “Andeven with all the memorable shows we’ve had here, I still can’t believethe calibre of jazz players in the city. And there is a lot more to come!”Andrew Scott is a Toronto-based jazz guitarist (occasional piano/singer) and professor at Humber College, who contributes regularlyto The WholeNote DISCoveries record reviews.JAZZ>FM91MAINLY CLUBS, MOSTLY JAZZMAINLY CLUBS, MOSTLY JAZZSWINGIN’ ATSTEADFASTORI DAGANORI DAGANI’mI’msittingsittinginin aParkdaleParkdalecoffeecoffeeshopshopwithwithmultiinstrumentalistmultiinstrumentalistSeanSeanMcCarthy,McCarthy,whosewhoseweeklyweeklyMondayMondayeveningeveningjazzjazzgiggigatatSteadfastSteadfastBreweryBrewery(301(301LansdowneLansdowneAvenue)Avenue)hashasquicklyquicklyblossomedblossomedintointo ajoyousjoyousoasisoasisofoftradtradjazz.jazz.OnOnthisthisgiggig withwiththethe“Tap“TapRoomRoom Gang”Gang”bandbandheheputputtogether,together, McCarthyMcCarthyplaysplaysthethe19-pound19-poundbassbasssaxophonesaxophone –moremoreononthatthatlaterlater –first,first,justjusthowhowdiddidhehelandlandthisthisweekly?weekly?THEOSTARAPROJECTMAY 2, 2025Meridian Arts CentreGeorge Weston Recital Hall, North YorkBuy tickets at tolive.comLead partnersIn association with Toronto Jazz FestivalSupported by& ELIANA CUEVASwith The Angel Falls OrchestraSean McCarthySean McCarthy“For a while I’ve been thinking about trying to find a regular gig,“For while I’ve been thinking about trying to find regular gig,just to have a place to build a repertoire that you can’t really do with ajust to have place to build repertoire that you can’t really do with one-off pickup gig here and there. I explored my neighbourhood andone-off pickup gig here and there. explored my neighbourhood andmade a list of possible venues. I hit up over 15 places, and all of themmade list of possible venues. hit up over 15 places, and all of themsaid no. So I went to the Farmer’s Market, sat on the grass and had asaid no. So went to the Farmer’s Market, sat on the grass and had beer, and I said to myself, “I’ll try tomorrow,” and since I was rightbeer, and said to myself, “I’ll try tomorrow,” and since was rightbeside Steadfast Brewery, I decided to go in.beside Steadfast Brewery, decided to go in.I sat at the bar and there was one regular there and the bartender.sat at the bar and there was one regular there and the bartender.Before you know it, music and events came up and the bartenderBefore you know it, music and events came up and the bartendersaid “the owner wants me to try and find some musicians but I don’tsaid “the owner wants me to try and find some musicians but don’treally know what we should book here.” So of course I said, “whatreally know what we should book here.” So of course said, “whatabout some jazz?” and he said “yeah but I don’t know any jazz musicians,”so I said “what about me?” and he said “What ABOUT you?” soabout some jazz?” and he said “yeah but don’t know any jazz musicians,”so said “what about me?” and he said “What ABOUT you?” soI handed him my card and he gave me Graham [Pinchin’s] email, andhanded him my card and he gave me Graham [Pinchin’s] email, andGraham emailed me back instantly and said “yes let’s do weekly!”Graham emailed me back instantly and said “yes let’s do weekly!”Why early jazz? I asked.Why early jazz? asked.Swingin’ at Steadfast continues on page 47Swingin’ at Steadfast continues on page 47thewholenote.com April May 2025 31thewholenote.com April & May 2025 | 31thewholenote.com April May 2025 31ORI ORI DAGAN