I have a further report on response to brown toner, or rather lack of same.
I made three identical prints of the image linked below on this paper. I had some full mixed-by-the-label strength brown toner I'd mixed up the week before for different paper. My darkroom temperature was 75F, liquids about a degree cooler as usual so 74. I toned one of the prints for 10 minutes with no change. I've always found my very dilute brown toner is only good the day it's mixed but someone here had reported much better keeping qualities at full strength so I had gone ahead and tried this. Seeing no change after 10 minutes I mixed up a totally fresh batch and toned for another 10 minutes.
While the prints were wet I could convince myself I saw a very slight color change. The Silver Artist was still cooler than untoned MGWT, but looked slightly warmer than the untoned Silver Artist. Slightly. After washing and drying I can no longer convince myself that I can tell which is the toned print. One looks to be very slightly lower density when they were all exposed at the same exposure and developed in the same tray of developer one right after the other, so that might be the result of toning. It's so slight it would only be noticeable in direct side by side comparison and even then I'm not sure of it.
This paper just does not respond to brown toner. I may try bleach and redevelop sepia next. The texture and look of this paper cry out for a way to make it at least slightly warm tone.
All that said, it still has a really nice look for some images. Here is the one I was working from (un-toned) posted to Flickr in a pretty high res scan. If you right click and select the largest size you can see the surface texture pretty well. I liked this because the occasional lens flare of the Yashicamat seemed to work for this image. I'm thinking of re-titling it "The Light of Music" because the flare looks like he's blowing light right out of the sousaphone.
JazzMusician1 by Roger Cole, on Flickr