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The following is the breakdown of 2006-2011 income for a Jazz Bandleader-Composer, who writes, records and performs his own works and leads and participates in multiple ensembles and projects. As a jazz composer, he writes primarily for his own ensembles to perform and record, though he also occasionally writes incidental music for plays, radio, television and film. As a performer, he leads his own bands, but also spends time playing and recording as a sideman for other jazz composers-bandleaders. When he tours with his own ensembles they typically play jazz clubs, concert halls, large jazz festivals, and universities, in the US and around the world. He has released over ten records as a leader or co-leader, and has appeared on over 25 recordings as a sideman. The Jazz Bandleader has an advanced degree in music. He has a manager, booking agent, and a multi-year relationship with an independent record label. He is a member of Chamber Music America, NARAS, SoundExchange, and SESAC. He is self-employed and has health insurance, but no pension plan. This case study includes time series chart of income 2006 2011, revenue pies for each of the years 2006 2011, and an analysis of income versus expenses across time. It also includes analyses of income by territory, and by role.
PRIMARY GENRE
Jazz
SECONDARY GENRES
1995 present
TIME SPENT ON MUSIC
100%
INCOME DERIVED FROM MUSIC
100%
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Gross Revenue
This section reviews the overall gross revenue numbers for 2006-2011 for Jazz Bandleader, as well as definitions for each category. Gross Revenue, 2006-2011
From 2006 2011, the majority of Jazz Bandleaders income 77.8% came from live performances and tours in the US, Europe, Canada and South America. Composing work accounted for 11.8% of his income, which including mechanicals, PRO royalties, publisher advances, and sheet music licensing. It also included some significant grants and awards. Most of the grants were commissions for him to write new works for his own and other ensembles. He also recorded every year, and his income as a recording artist (advances, record royalties, and CD sales on the road) accounted for 7.3% of his overall income during this period. Other income streams in this time period included 1.8% from performances and recordings as a sideman, and 1.3% from teaching, speaking engagements and master classes. We will explore these in detail in the charts and tables below. In the next section, we look at gross revenue by year.
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. 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 musician income. Learn about methodology at money.futureofmusic.org.
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Revenue Category Live Performance Grants and Awards Record Label Advance Record Sales Composition Commission Sideman Mechanical Royalties PRO Royalties Teaching
2006
Details As a composer, he received one major commissioning grant from a nonprofit to write a new concert pieces, and several smaller commissions He received an advance to record a small ensemble record for a jazz subsidiary of a major label.
2.0% 1% record royalties paid by label, 1% records sold on tour 1.8% He was commissioned to write incidental music for a play 1.1% Studio and live performances as a sideman 0.3% Mechanicals paid by label 0.3% Paid by his PRO 0.3%
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Revenue Category Live Performance Composition Commission Grants and Awards Producer Sideman Composer Income Record Sales PRO Royalties Teaching Advisor Speaking Engagement
2007
Details
78.7% As a bandleader, he toured US, Europe and Canada 7.0% Commissioned to write incidental music for film and radio pieces 4.8% Small composing-related grants from nonprofit foundations to write new concert pieces
1.9% Produced a record for another artist 1.8% Studio and live performances as a sideman 1.7% 0.1% mechanicals paid by label and 1.6% publishing income from a mainstream hip-hop song that he has a co-writing credit on
1.4% 0.97% record royalties, 0.4% record sales on tour 1.2% Paid by his PRO 0.9% 0.6% He advised a foundation in a grant panel 0.2% Speaking at a university
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Revenue Category Live Performance Sideman Record Sales Composition Commission Teaching Speaking Engagement PRO Royalties Mechanical Royalties Grants and Awards Digital Performance Royalties
2008
Details
85.6% As a bandleader, he toured US, Europe, Canada, and South America 5.8% He performed live as a sideman in the US and Europe 2.4% 1.76% record royalties, 0.65% record sales on tour 1.8% Incidental music for a film 1.6% 1.3% For industry conferences 0.6% Paid by his PRO 0.5% Mechanicals paid by label 0.3% Commission for new work by presenter 0.01% Paid to performer by SoundExchange
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Revenue Category Live Performance Grants and Awards Record Label Advance Composition Commission Record Sales Sideman Teaching Mechanical Royalties PRO Royalties Digital Performance Royalties
2009
Details
59.9% As a bandleader, he toured US and Europe 10.8% Received prize as well as commissions from presenting organizations 9.2% For new solo record, also, publishing deal 9.2% To compose music for a television show 7.0% 6.4% record royalties, 0.6% record sales on road 1.8% Recording and performing live 0.8% Workshop and university 0.7% Mechanicals paid by his label 0.5% Paid by his PRO 0.01% Paid to performer via SoundExchange
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Revenue Category Live Performance Record Label Advance Grants and Awards Sideman Record Sales Composer Income Speaking Engagement PRO Royalties Teaching Advisor Digital Performance Royalties
2010
Details
77.5% As a bandleader, he toured US, Europe, and Canada 8.7% Recording expenses for two projects 7.5% For two different commissioning projects 2.0% With three different ensembles 1.4% 1.1% record royalties, 0.3% record sales on road 1.1% 0.4% mechanicals, and 0.7% publishing income related to a hip-hop track he co-wrote
0.7% At industry conferences 0.4% Paid by his PRO 0.3% 0.2% He served on a grant panel for a foundation 0.04% Paid to performer via SoundExchange
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Revenue Category Live Performance Grants and Awards PRO Royalties Record Sales Sheet Music Sideman Teaching Mechanical Royalties Digital Performance Royalties
2011
Details
90.3% As a bandleader, he toured US, Europe, Canada, Australia and Asia 5.3% Six different commissioning projects 1.4% Paid by his PRO 1.2% 0.8% record sales on tour, 0.4% record sales from label 1.2% Publishing deal advance 0.2% LIve and studio work 0.2% 0.1% Mechanicals paid by label 0.02% Paid to performer via SoundExchange
Breakouts
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Income vs Expenses
The pie charts below show aggregate gross income, and the related expenses for 2006-2011. Gross Income, 20062011 Gross Expenses, 20062011
The pie chart for expenses has been scaled visually to represent that expenses consume about 80% of gross income. The table below provides details about expenses from 2006-2011.
Expense Category Artist Fees Paid Manager Fee Paid Tour Expenses Production Overhead Recording Expenses Marketing Merch Expense 2006-2011 Details
36.5% Fees paid to sidemen for live performances 19.2% Paid to US-based manager (US and European booking agents take a percentage of touring income before payment is made to Artist). 17.4% Flights, ground transportation, hotel, per diems 8.5% Equipment, rehearsal space, research, wardrobe, production crew, road crew, 7.8% Bank, taxes, telephone, postage, misc 5.6% Artist fees, royalties paid, engineers, rehearsal space, equipment 3.3% Website, publicist 1.7% Paid to record labels for merchandise (CDs) to sell at shows
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The chart below shows income versus expenses on a year-to-year basis. The grey line indicates net income, which fluctuates from year to year.
Jazz Bandleader releases at least one record each year as a leader or co-leader. His net recording income after expenses fluctuates from year to year: some years he loses money, other years he gains. Overall from 2006-2011 his recording income is a modest net positive. Income by Role Jazz Bandleaders gross income can be divided into five
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categories: touring, recording, composing, session/sideman work and income related to his knowledge of craft. The chart above shows what percent of each years income falls into these five categories. Clearly, live performance fees are a majority of his income. Below are breakouts of of his income by role, from 2006-2011. Income as Performer Income from Recordings
Label Advance Live Performance Sideman Sideman: Studio 97.8% 1.8% 0.4% Record Sales Record Sales: Tour AARC Digital Performance Royalties
Income as Composer
Grants and Awards 62.9% Commission PRO Royalties Sheet Music Publishing Income Mechanicals 21.6% 6.8% 2.9% 2.7% 3.1%
Mechanicals, PRO royalties, 7.7% commissions, grants and awards, sheet music sales Record label advances, record 1.2% sales, record sales on tour, digital performance royalties 0.2% 0.6% Session or sideman work on tour or in the studio Advisor, producer, speaking engagements, teaching
Touring is an area that is actively pursued by Jazz Bandleader, and its the role through which he makes the vast majority of his income. He retains a booking agent to contract engagements
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for him in the US, Europe and other territories. Most of the composing-related money is relatively passive income. With the exception of a handful of grants written by Jazz Bandleader earlier in his career, the vast majority of this income is initiated by someone other than Jazz Bandleader or his team. Recording is the most complex area of income for this Jazz Bandleader-Composer. He receives regular income every year for record sales and digital sound recording performance royalties. He actively sells his recordings on tour which makes up a stable portion of his income. The biggest differences from year to year are the record label advances, which accounted for 65% of his recording-related income from 2006-2011. Jazz Bandleader has also earned significant money as a sideman, both on tour and in the studio. Knowledge of craft income, like the composing-related income, is largely passive. Organizations and institutions hire Jazz Bandleader to give a lecture or masterclass to university students, speak at industry conferences, or advise or produce.
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Here is a detailed view of the gross merchandise sold on the road. Jazz Bandleader only sells CDs of his own ensembles releases when he travels. He sold approximately the same dollar amount of CDs at shows in the United States from year to year, with an uptick in 2009 and 2010. His European CD sales are robust, but fluctuate from year to year, depending on whether he sells the merchandise himself after a show. (Sometimes the venue will contract a third party to sell merchandise. In those cases, Jazz Bandleader does not receive CD Sales on the Road income from that particular show, even if there were CDs sold at the concert). He sold no merchandise at shows in Canada.
Reflections on Building a Career in Jazz The jazz field differs from the classical or indie rock worlds in a few substantive ways. While many classically trained musicians may aspire to be section or ensemble players, jazz players learn to solo and are encouraged to lead their own bands. Much of the classical music world operates largely on a non-profit patron model, whereas jazz has its roots in commercial music played in night clubs. But the commercial crossover viability of jazz is limited. Rather than emerging bands going in and out of fashion as routinely happens in the rock and pop scenes, jazz operates on a prestige model, where elder jazz greats are continually celebrated and younger bandleaders compete fiercely for a few opportunities to shine. This is the environment in which this Jazz Bandleader-Composer is building his career. While every artists financial picture is unique and personal, there are a few themes that emerge from this case study about jazz musicians in general. Early investments pay off in the future. Emerging jazz artists spend years practicing their craft, picking up freelance gigs, and joining sessions with elder players. This not only hones their skills, but also forges the necessary connections and credentials in the field to move from being a session player to a bandleader. This was the path that our Jazz Bandleader forged for himself. And, those early investments doing session and sideman work are paying off now, both financially and creatively. money.futureofmusic.org/case-studies 14
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Similar to our indie rock composer-sideman, this Jazz Bandleader benefits financially from playing multiple roles; he consistently earns money from live performances, while also seeing the long-term benefits of his compositions, which generate mechanical royalties, PRO royalties and sheet music sales year after year. During periods with fewer shows, income from compositions and sound recordings makes up a greater percentage of his gross income. Live performance is essential, and worth the investment. As with a number of our case studies, live performance fees are the primary even the dominant source of income in many years. Because it is the linchpin of his career, this Jazz Bandleader has made significant investments in maximizing it. He has a manager, a booking agent and a publicist. This allows him to both tour frequently and collaborate with others. Having a team in place has also allowed him to leverage his skill and connections to do much more; composing and recording his own work, contributing to various ensembles, working on commissioned pieces and serving as a sideman. With the benefit of hindsight, its easy to look at these numbers and think that the Jazz Bandleaders careful choices over the years led automatically to this career outcome. But this is an incredibly competitive field, and one where luck and timing can play as big a role as skill and planning. While the jazz field has some unique traits, this case study underscores the importance of building and maintaining relationships, and investing wisely in ones career.
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