By Jennifer Oladipo
The Wheel Sessions producer, Kevin Korschgen, discusses how he built a jazz performance series, handling money and locations, bringing in top talent, and meeting audience expectations.
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After six years, The Wheel Sessions still have the same underground vibe as when the intimate jazz shows first started in a borrowed storefront space. What has changed, however, is its reputation, becoming a must-play spot for some of the country’s top musicians.
Founder and longtime drummer Kevin Korschgen recently celebrated TWS’s 100th session, and StankRadio was there in the hyped crowd. (Our sound guy fell through at the last minute, but we managed to capture the energy with a very raw bootleg recording.) We sat down with Korschgen to learn his roadmap for producing successful shows and unforgettable moments for a niche audience.
The Path to 100 Shows
Korschgen has an immediate answer when asked what keeps musicians coming back to The Wheel Sessions: freedom. He prides himself on providing a platform that ensures artistic integrity remains un-compromised. Korschgen carefully curates each session, often assembling musicians who have never played together before — which they love. It’s why, for instance, trumpeter Etienne Charles, a Guggenheim Fellow and Jazz at Lincoln Center awardee, was willing to stop in Greenville, S.C., before leaving to perform in Dubai.
"It's the ideal creative vehicle, where there are no restrictions and total artistic freedom,” Korschgen says.
He usually hires one player to serve as the band leader for the night, creating the set list and direction. There’s just one brief practice before the audience arrives. The result is a playground for talented musicians to explore something new in front of an audience looking to do the same.
Korschgen himself was surprised when he realized late last year that he was approaching 100 shows.
“I've always known I've had a little trouble with marking time,” he says. “When I started the sessions it just occurred to me, fortunately, to call the first one ‘Wheel Session One.’ Otherwise, I would have had no idea how many we had.”
Korschgen approached the milestone with characteristic nonchalance, explaining that he’s “not real sentimental about stuff like that.” But he did want to do something a little different. So, he decided to let each of the musicians take turns on “center stage” before the usual full-band pieces.
Plus, it would be an all-Carolina crew: alto sax, Tom Wright; tenor sax, Peter Dimery; trumpet, Mark Rapp; trombone, Brad Jepson; piano, Phillip Howe; upright bass, Shannon Hoover; and Korschgen on drums.
The early days of The Wheel Sessions began in Greenville’s Arts District. The building’s facade was decorated with a giant wheel that hung off the front like some sort of Bat Signal for cyclists. Inside, the players packed in close, surrounded by couches, armchairs, folding chairs, and whatever else folks could sit on. Off to the side was a snack table, and a cooler for guests to chill drinks they brought in themselves.
Korschgen spread the word through the Greenville Jazz Collective, and hired musicians he believed could help draw audiences. Fliers and newspaper ads helped, but building an email list made the key difference.
That location no longer exists, so Korschgen had to shop around. Relationships with community members who supported TWS led to some of the most successful venue arrangements. The current home, a photographer’s studio in the back of an industrial park, perfectly fits the underground and unexpected experience. There’s still a couch sometimes, and still a BYO table.
Staying on Track
Changing venues also changed the crowd, Korschgen observed. No more random street traffic from artsy types. So, while the current location suits the event well, he still feels the ideal home would be somewhere in the Arts District.
Although TWS receives some support from arts organizations, ticket sales remain the primary revenue source. Korschgen uses the money to pay for the band and facilities, and whatever is left over goes back into the event. He’s thinking about more merchandise offerings, and envisions selling CDs, branded accessories, and other unique items. He’s also considering themed events, such as a summertime series bringing in renowned drummers. Why not give the drummer some?
Korschgen best advice for anyone who’s passionate about producing events, no matter who their audience, is to just make great art. Think like a visual art museum curator about how it all fits together. And keep delivering what people expect once you find that winning combination.
For example, Korschgen says he’s very careful not to use the email list to promote anything but important details about TWS shows or community jazz happenings. That way, people always know whatever his emails will be valuable.
“Sometimes people say, ‘Why don't you do this or that?’ Like we did one show in a club, but I realized that won't work because people come in who aren't there for you. And the whole vibe changes. They might be talking during the show,” Korschgen says. “So whatever your vibe or your brand is, stay consistent with it. In other words, the artistic direction still is even more important than the promotion.”
Catch Wheel Session #103 on Thursday, October 19. Listen, learn more, and purchase tickets here at https://www.wheelsessions.com/next-show.