April 16–23, 1998
music issue
Sweet Success?
A new jazz promoter hopes to soar where others have struggled.
by Nate Chinen
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Baylor (left) and Kayser. photo: Adam Wallacavage |
Russ Gershon, leader of the Either/Orchestra, stands outside the First Unitarian Church on Chestnut Street, hands stuffed into the pockets of his Gortex jacket. The rest of the band mills around, restlessly mingling with members of their would-be audience. The E/O's new equipment van has broken down somewhere along Route 84, and there's no telling when (or whether) this show will happen. Fledgling concert promoters Alan Kayser and Craig Baylor of Sweetnighter Productions try their best to stay calm. They chat with the crowd and watch hopefully for any sign of the missing van.
The seeds of Sweetnighter Productions were sown last June, when Kayser retired from his position as a vice principal in the Philadelphia school system and began working with Baylor at the Sound of Market music shop. They continued kicking the idea around after Kayser moved to Classical Choice, another record store across town. At the time, the only other local independent concert promoters with a similar vision were Sarah Caine and Steve Wood of the Shanghai Trunk Company, who brought in such formidable performers as Cecil McBee, Charlie Hunter, Mark Ribot and Dave Douglas' Tiny Bell Trio. Ironically, it was the untimely demise of the Shanghai Trunk Company in late February that prompted Kayser and Baylor to mobilize their efforts.
"It became apparent that there was a very large hole in the city in terms of promoting [jazz]," recalls Kayser. When drummer Jim Black, one-third of the Tiny Bell Trio, called early in March and asked how to get in touch with Shanghai, Kayser and Baylor saw an opportunity; with little more than a week's notice, they stitched together a show for Black's group, Pachora, at the Philadelphia Ethical Society. The show was successful (if not exactly lucrative), and encouraged Kayser and Baylor to continue promoting shows. "We were kind of thinking of ourselves as a sort of Knitting Factory to the south," Kayser recalls, referring to the progressive jazz and rock space in New York City. "But we really didn't have a Knitting Factory; we had nothing. So I thought we would call ourselves 'The Nothing Factory.' Craig didn't think it was great." They settled on Sweetnighter Productions, named after a classic album by Weather Report.
The van finally appears, over an hour past the scheduled showtime, greeted by applause from the curbside crowd of musicians and fans. Everyone immediately pitches in to carry equipment down to the church basement. Within minutes, Gershon has warmed up the small but attentive audience with a few jokes. For the first time tonight, Kayser sits down and begins breathing normally; Baylor greets stragglers at the door with a wide grin. The show is a haphazard but terrific success, a perfect atmosphere for the Either/Orchestra's eclectic style. The E/O has taken a risk with Sweetnighter; all their other shows guarantee a minimum payment.
"We're on our way to West Virginia, so it made sense to stop in Philly," Gershon explains. "[Sweetnighter] are sort of neophytes at concert promotion. But [they] really care about the music."
On the surface, Kayser and Baylor seem like the odd couple of concert promoting; Kayser gives the impression of brooding intensity and a perpetual state of concern, while Baylor is warm and easygoing. As it turns out, their personalities contrast but also complement each other.
"I'm much more of an organizer than Craig," Kayser explains. Baylor agrees: "Alan usually is the one that talks to the musicians, sets up the show dates and lines up the venues. I'm generally the person that drums up interest with customers here and other people I know."
There are several possible Sweetnighter shows in the works; their next project, with percussionist Gerry Hemingway, has just been confirmed for Friday, May 22. They're still looking for a venue.
Although Sweetnighter is still in its formative stages, Kayser and Baylor have learned a few lessons from the successes and failures of their predecessors.
"We were familiar enough with the way [Shanghai] was doing it to know that they were making some very big mistakes," says Kayser. "I was able to speak to some of the musicians that they were bringing out, and they were fronting ridiculous amounts of money. To pay the musicians what they were paying them, you're not even going to break even. The other thing is that they didn't advertise at all, nothing in the local papers. "
The economic problems that plagued Shanghai will continue to pose a serious challenge. "We're filling a niche," Baylor says warily, "but right now it's been a pretty small niche. I know the city can support the music we're trying to bring in, but it hasn't been very overwhelming so far." For now, Sweetnighter abides by a simple but crucial policy: keeping costs down. "I write a check for the venue and put advertising on my credit card and hope for the best," Kayser says. "The financial part is tough, especially when you consider putting hours and hours of work in, for nothing except the pleasure of doing it. But it is a pleasure. It's a pleasure to bring in music and know that people are enjoying themselves, having a nice night out."
