Case Study: Jazz Sideman-Bandleader

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

Previous: Income by Role

Sideman Relationships Over Time

From 2004 to 2010, Jazz Sideman-Bandleader played 369 engagements with 81 different ensembles as a sideman. Forty-nine of the engagements were one-time sideman gigs. The remaining 320 engagements were spread out amongst 32 ensembles, with 65% of the engagements coming from six bandleaders.

The Artist takes on a high number of sideman engagements. A few relationships have stayed consistent through the years.
These two stacked area charts provide a visual representation of the number of sideman engagements he took on from 2004-2010 and his income from those gigs. Each color represents a different bandleader or ensemble. We’ve chosen the area chart format so you can see the relationships between Jazz Sideman and various bandleaders. A handful stay strong over time, with at least one or two gigs every year. Others might peter out after a couple years of activity, or are one only occasional shows.

Over the period of 2004-2010, Jazz Sideman-Bandleader took on fewer sideman engagements in general, but he maintains a steady relationship with three or four bandleaders.

Above is a visual representation of the actual gross income Jazz Sideman-Bandleader received for his sideman work from 2004-2010, again by bandleader. The colors and relative position of each bandleader correspond to the chart above.
Though nearly half of his sideman income comes from one bandleader, the Artist needs all of his gigs to survive.
46% of his income comes from one bandleader. Though he is playing about a third the number of sidemen engagements in 2010 as he was in 2004, his total income for sideman work is 15% greater in 2010 than it was in 2004.
After seven years of consistent sideman activity, the Artist is playing fewer gigs at a higher average rate.
Next: Sideman Wages by Territory

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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