Interview: Toronto Traffic Sparks “Endless Construction,” (dedicated to Eglinton West), the Lead Single from Patrick Smith’s New Album ‘Pangea: Rebirth’

Originally from Ottawa, ON, Patrick Smith is a Toronto-based saxophonist who has studied with Mike Murley, Kelly Jefferson, and acclaimed American saxophonist Mark Shim. Smith has established himself as a gifted and in-demand musician on the Canadian music scene. An active bandleader, he heads three projects: his quintet, his trio 3-Oh, and Pangea – a jazz fusion concept group that combines UK jazz, neo-soul, R&B, and world music. Pangea features top Toronto musicians Darryl Joseph-Denie (Ahi, Listening Room), Kae Murphy (BADBADNOTGOOD, Whitney), and Jon Catanus (Erez Zobary, Diskarte).

Pangea’s debut album, Pangea: Rebirth, is a bold exploration of global musical connectivity and jazz fusion. The album covers a wide stylistic and emotional range, from celebratory funk to deeply reflective ballads. Its lead single, “Endless Construction,” (dedicated to Eglinton West), captures the album’s ethos with its unique mix of groove-driven rhythms, compelling improvisation, and a narrative inspired by Toronto’s urban chaos.

1. What did you enjoy most about the recording process of this new release?
I really loved recording with no headphones in the studio. Playing in a circle as if we were rehearsing. I feel that from recording that way this record has a sense of drive and immediacy that is different from my previous releases. Doing a record to tape has always been a dream of mine and it was really great to do that!

2. Share a nugget of advice that has resonated with you most over the years.
I heard from a mentor that the great Sonny Rollins backstage at a festival a number of years ago was asked what advice he had for younger musicians. Sonny responded with an answer along the lines of “the forces of power that control our world have always tried to squash creativity since the dawn of time. The real secret is to continue to push back against those forces and continue to create.” That has always stuck with me. Just being a musician in the modern era is an act of rebellion. I try to keep that advice in mind when I’m low. In some ways it’s a game of last man standing.

3. Who would be your dream artist/band to co-headline a tour with?
I would love to co-headline a tour with Shabaka Hutchings or Isaiah Collier. Those are my two favourite woodwind artists right now.

4. What sets your music apart from others in your genre?
This is a jazz record at its core. A few things set it apart. 1. It was heavily influenced by arabic and other world music 2. Instead of a bass player it has a sousaphone. 3. There’s a serious air of intensity that many jazz albums that are being released right now lack.

5. Tell us what your favourite song is at the moment and why.
I have been delving back into the catalogue of Neil Young, one of the great artists that Canada has produced. I grew up on his music and have only recently begun to revisit that music that my dad played a lot as a child. I’ve been very into his song Don’t Let It Bring You Down. Particularly the version from a concert at Massey Hall in 1971. The jazz pianist Brad Mehldau also does a nice version of it. It’s been helping me get through these strange times where democracy appears to be failing and we’re headed towards being programmed by AI.

I wrote the song, “Endless Construction,” (dedicated to Eglinton West), after a particularly brutal drive through Toronto traffic – the kind where you’re stuck for 20 minutes just trying to get onto the Allen Expressway. I was frustrated, but when I came home, I turned that annoyance into music. It’s inspired by a band improvisation from a previous gig and channels the reflective energy I wanted the album to capture. – Patrick Smith

Smith’s creative process and vision shine throughout Pangea: Rebirth, which draws influences from artists like Shabaka Hutchings and Ezra Collective, as well as genres beyond the jazz idiom, such as neo-soul and world music. The decision to record the album live to tape in a small, unfinished basement studio added a raw, old-school energy. “Endless Construction” (dedicated to Eglinton West) showcases the album’s experimental spirit, featuring a vintage Hammond B3 organ and daring effects on saxophone and sousaphone that give the track a modern edge.