Case Study: Jazz Sideman-Bandleader

Posted on March 15th, 2012 by Jean Cook in Financial Case Studies, Participant Data. 2 Comments

Previous: Introduction

Gross Revenue Time Series

Below are the overall gross income numbers for 2004-2010 for Jazz Sideman-Bandleader. For more detail year by year, including definitions for each category, visit the appendix.

In this period, Jazz Sideman-Bandleader made 37% of his income from sideman work from live performances and recordings in US, Europe, Canada, Mexico, and South America with 81 different ensembles. Approximately 28% of his income is from projects he led or co-led: 15% from live performances, 1% from recordings, and 12% from five grants received during this period. As an administrator, he earned 15% of his income as a music project consultant to arts organizations and 8% as organizing tours or concerts for other musicians for whom he also performs. He earned 11% of his income during this period from teaching, which fluctuates from year to year. PRO royalties accounted for approximately 2% of his income, generated by radio airplay and performances in Europe, as well as broadcasts of a film for which he wrote the music.

About Sideman Work
Artist’s sideman gigs are almost all obtained through word of mouth and reputation. There is no audition process. Often people specifically seek him out because they want to work with him. The financial arrangement is almost always a flat fee buyout for a studio or live situation. He does not retain any of copyrights generated by this sideman work, and these gigs are not under union contracts.
As a bandleader, he hires sidemen, who typically get paid more than he does per gig. He pays his sidemen through guarantees from clubs or festivals paid to him, a cut of the door, personal investment, and occasionally grant support of some kind.

Next: Income v Expenses

About the Case Studies

Graphs do not have a Y-axis dollar value in order to observe the conditions of our privacy policy. In addition, graphs and visuals in case studies are not comparable within or between case studies. For more details about this, read about our financial case study protocol.

Information detailed in case studies is based on data received directly from the artist or their authorized representative. The data analysis and lessons learned here are based on individual experience, and do not necessarily reflect the experiences of all musicians in genre or roles.

Case studies are one of three ways this project is looking at music creator income.

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