In a time of uncertain futures and a troubling present, Mike T. Kerr has taken the opportunity to honour a storied past with Spring Garden Bandstand.
The album largely pays tribute to Kerr’s grandfather, Dan Leeman, a lifelong career musician and one of Kerr’s biggest musical inspirations. The track “Peacekeeper’s March” is Kerr’s solo take on the march composed by Leeman in the ’80s and based on a 2015 recording of the Halifax Stadacona band playing it. Even the title, Spring Garden Bandstand, borrows from a bandstand in Halifax that Kerr’s grandfather always loved but never got to play on.
“They got up there for a photo op,” says Kerr. “There was a time he was so excited to play and stand on the bandstand, but then the percussionist showed up with all his timpani and the low brass ended up down on the grass and they couldn’t get up. So this album is a living tribute to him. He’s always been a huge supporter of my music.”
“Peacekeeper’s March” is included in the half of tracks not written by Kerr. He has two variations of the Isham Jones hit “It Had To Be You”, and he channels the works of Reverend Gary Davis on “Glory River.”
Terra Spencer’s contribution to this album is, as expected, a standout. Kerr set out knowing he wanted to include a Maritimes guitarist because of the instrument’s history here, especially the blues scene in New Brunswick. The way he describes it, Spencer’s name came as a flash of inspiration that he hadn’t even considered.
“She is this amazing songwriter breaking into the music scene,” says Kerr. “And everyone loves her songs and singing. She’s an awesomely charming performer and fingerpicker. To the average listener, it might not be the first thing you think of, but to me, she’s an amazing guitar player.”
“Space for Spencer” is a short showcase of the very fingerpicking abilities that Kerr praises, while “Grampy” has the two of them collaborating on a tribute to Spencer’s grandfather. As the only other guitar present on the album, Spencer’s “voice” complements Kerr’s style and themes in a truly fitting way.
Kerr’s original tracks are easily discernible from each other, as they’re flavoured with his own personal style. “Three Whole Years” is driven by a sweet melody, and there are secret depths present on “Mason School for the Blind” that don’t seem to live anywhere else. A lot of the more engaging tracks are the ones Kerr poured his own heart and soul into. It could be that love and care that elevates them so.
The creative process of this album is uncharted territory for Kerr. While half of the album was recorded at New Scotland Yard recording studio late 2019, the arrival of the pandemic put a snag in things. Kerr had to teach himself a lot of new skills in self-recording, while also making the effort to ensure the home recordings were cohesive with the studio recordings.
“This is what a lot of musicians are working with right now,” says Kerr. “It’s making remote connections and recording things from home and all these different studios. And then it’s making that all gel and glue together into a traditional album sound.”
The result is virtually seamless. This melding of traditional and unconventional recording styles unintentionally lends to the theme of the album – of paying tribute to Kerr’s teachers and inspirations while also treading new ground.
The album is available for digital download on September 26th, but you can immediately pre-order the album (and limited edition test pressing) on vinyl.