Case Study: Jazz Sideman-Bandleader


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

Previous: Sideman Relationships Over Time

Sideman Wages by Territory
The Artist’s sideman fees outside the US are generally much greater than what he is paid at home. But that isn’t necessarily to say that US gigs are always lower paying as a rule.


This chart illustrates the average earnings (per show) for Jazz Sideman-Bandleader’s sideman performance engagements in the US and outside the US. Non-US includes Canada, Mexico, South America, Europe and UK. The non-US venues ranged from major jazz festivals to theaters and concert halls and, occasionally, night clubs. In the US, most of the performances were in night clubs, theaters, and schools.
As he becomes more established as a sideman, his rate in the US has steadily increased.
His sideman rate for US gigs has steadily risen over 8 years; his average rate in 2011 is more than 3 times his average rate in 2004. The non-US sideman rate varies from year to year, as the wages fluctuate depending on what kind of territories he is traveling to, what kind of venues he plays, and which bandleader he is playing with. Some bandleaders pay higher wages than others. On average over eight years, Jazz Sideman-Bandleader’s sideman rate when traveling outside the US is approximately three times greater than what he makes in the US. That isn’t necessarily to say that US gigs are always lower paying as a rule. Sometimes it may be easy and worthwhile for him to play a poorly paying gig at home that he would never consider flying to Europe to do.

Next: PRO Royalties 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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