jazz bandleader–composer primary...

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Jazz Bandleader–ComposerThe 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

ClassicalHip Hop

ROLES

BandleaderComposerSidemanTeacher

YEARS ACTIVE

1995 – present

TIME SPENT ON MUSIC

100%

INCOME DERIVED FROM MUSIC

100%

CASE STUDY | Jazz Bandleader – Composer

2money.futureofmusic.org/case-studies

Gross Revenue

This section reviews the overall gross revenue numbers for 2006-2011 for Jazz Bandleader, as well as definitions for each category.

From 2006 – 2011, the majority of Jazz Bandleader’s 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.

Live Performance 77.8%

Composing 11.8%

Recording 7.3%

Sideman 1.8%

Teaching 0.7%

Knowledge of Craft 0.6%

Gross Revenue, 2006-2011

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.



Gross Revenue, 2006 In 2006, Jazz Bandleader toured with his own ensembles throughout the United States, Canada and Europe. He received one major commission from a nonprofit foundation for a work that premiered in 2007, as well as smaller commissions as a composer. He received two advances from the jazz subsidiary of a major label to make a record that was released in 2006, and another record that was released in 2007. He recorded and toured as a sideman, and appeared on four releases as a sideman on independent labels.

Revenue Category 2006 Details

Live Performance 66.4% As a bandleader, he toured US, Europe and Canada

Grants and Awards 15.6% As a composer, he received one major commissioning grant from a nonprofit to write a new concert pieces, and several smaller commissions

Record Label Advance 12.1% He received an advance to record a small ensemble record for a jazz subsidiary of a major label.

Record Sales 2.0% 1% record royalties paid by label, 1% records sold on tour

Composition Commission 1.8% He was commissioned to write incidental music for a play

Sideman 1.1% Studio and live performances as a sideman

Mechanical Royalties 0.3% Mechanicals paid by label

PRO Royalties 0.3% Paid by his PRO

Teaching 0.3%



Gross Revenue, 2007

In 2007, Jazz Bandleader toured with his own ensembles throughout the United States, Europe and Canada. He was asked to write music for a film, a radio program, and received smaller compositional commissions for works premiered by his own ensembles. He recorded and toured as a sideman, and appeared on one release as a sideman on an independent label.


Live Performance 78.7% As a bandleader, he toured US, Europe and Canada

Composition Commission 7.0% Commissioned to write incidental music for film and radio pieces

Grants and Awards 4.8% Small composing-related grants from nonprofit foundations to write new concert pieces

Producer 1.9% Produced a record for another artist

Sideman 1.8% Studio and live performances as a sideman

Composer Income 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

Record Sales 1.4% 0.97% record royalties, 0.4% record sales on tour


Teaching 0.9%

Advisor 0.6% He advised a foundation in a grant panel

Speaking Engagement 0.2% Speaking at a university



Gross Revenue, 2008

In 2008, Jazz Bandleader toured with his own ensembles throughout the United States, Europe, Canada, and South America. He received a small nonprofit foundation commission for a work that premiered in 2009. He was a leader or co-leader on two releases on independent labels. He recorded and toured Europe and the US as a sideman.


Live Performance 85.6% As a bandleader, he toured US, Europe, Canada, and South America

Sideman 5.8% He performed live as a sideman in the US and Europe

Record Sales 2.4% 1.76% record royalties, 0.65% record sales on tour

Composition Commission 1.8% Incidental music for a film

Teaching 1.6%

Speaking Engagement 1.3% For industry conferences



Grants and Awards 0.3% Commission for new work by presenter

Digital Performance Royalties 0.01% Paid to performer by SoundExchange



Gross Revenue, 2009

In 2009, Jazz Bandleader toured with his own ensembles throughout the United States and Europe. He received a major commission to compose music for television. He signed a recording and publishing deal with a new independent label and released a solo record the same year. He recorded and performed locally and internationally as a sideman, appearing on four releases as a sideman in 2009.


Live Performance 59.9% As a bandleader, he toured US and Europe

Grants and Awards 10.8% Received prize as well as commissions from presenting organizations

Record Label Advance 9.2% For new solo record, also, publishing deal

Composition Commission 9.2% To compose music for a television show

Record Sales 7.0% 6.4% record royalties, 0.6% record sales on road

Sideman 1.8% Recording and performing live

Teaching 0.8% Workshop and university

Mechanical Royalties 0.7% Mechanicals paid by his label


Digital Performance Royalties 0.01% Paid to performer via SoundExchange



Gross Revenue, 2010

In 2010, Jazz Bandleader toured with his own ensembles throughout the United States, Canada and Europe. He received an advance from his record label for two different recording projects. He received grants and awards for two different commissioning projects, where he wrote music for two different ensembles. He recorded and performed locally and internationally as a sideman, appearing on one release as a sideman in 2010.


Live Performance 77.5% As a bandleader, he toured US, Europe, and Canada

Record Label Advance 8.7% Recording expenses for two projects

Grants and Awards 7.5% For two different commissioning projects

Sideman 2.0% With three different ensembles

Record Sales 1.4% 1.1% record royalties, 0.3% record sales on road

Composer Income 1.1% 0.4% mechanicals, and 0.7% publishing income related to a hip-hop track he co-wrote

Speaking Engagement 0.7% At industry conferences


Teaching 0.3%

Advisor 0.2% He served on a grant panel for a foundation




Gross Revenue, 2011

In 2011, Jazz Bandleader toured with his own ensembles throughout the United States, Canada, Europe, Australia, and Asia. He received grants and awards for six different commissioning projects, where he wrote three new works for his own ensembles and groups, and three for other groups. He reached an agreement with an independent publisher to release sheet music of his compositions. He recorded and performed locally and internationally as a sideman, appearing on three releases as a sideman in 2011.


Live Performance 90.3% As a bandleader, he toured US, Europe, Canada, Australia and Asia

Grants and Awards 5.3% Six different commissioning projects


Record Sales 1.2% 0.8% record sales on tour, 0.4% record sales from label

Sheet Music 1.2% Publishing deal advance

Sideman 0.2% LIve and studio work

Teaching 0.2%



Breakouts



Income vs Expenses

The pie charts below show aggregate gross income, and the related expenses for 2006-2011.

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 2006-2011 Details

Artist Fees Paid 36.5% Fees paid to sidemen for live performances

Manager Fee Paid 19.2% Paid to US-based manager (US and European booking agents take a percentage of touring income before payment is made to Artist).

Tour Expenses 17.4% Flights, ground transportation, hotel, per diems

Production 8.5% Equipment, rehearsal space, research, wardrobe, production crew, road crew,

Overhead 7.8% Bank, taxes, telephone, postage, misc

Recording Expenses 5.6% Artist fees, royalties paid, engineers, rehearsal space, equipment

Marketing 3.3% Website, publicist

Merch Expense 1.7% Paid to record labels for merchandise (CDs) to sell at shows

Gross Income, 2006–2011 Gross Expenses, 2006–2011



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 Bandleader’s gross income can be divided into five

Income by Role, 2006-2011

Income v Expenses and Net, 2006–2011

Recording

Other Income

Grants and Awards

Live Performance

Touring Expenses

Overhead

Production Expenses

Recording Expenses

2006 2007 2008 2009 2010 2011



categories: touring, recording, composing, session/sideman work and income related to his knowledge of craft. The chart above shows what percent of each year’s 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.

Role 2006 2007 2008 2009 2010 2011 Details

Touring 66.4% 78.7% 85.6% 59.9% 77.5% 90.3% Live performance fees as a leader or soloist

Composing 18.1% 14.7% 3.6% 21.3% 9.1% 7.7%Mechanicals, PRO royalties, commissions, grants and awards, sheet music sales

Recording 14.1% 1.2% 2.0% 16.3% 10.1% 1.2%Record label advances, record sales, record sales on tour, digital performance royalties

Sideman 1.1% 1.8% 5.8% 1.8% 2.0% 0.2% Session or sideman work on tour or in the studio

Knowledge of Craft 0.3% 3.6% 3.0% 0.8% 1.2% 0.6% Advisor, producer, speaking engagements, teaching

Touring is an area that is actively pursued by Jazz Bandleader, and it’s the role through which he makes the vast majority of his income. He retains a booking agent to contract engagements

Income as Performer Income from Recordings

Income as Composer Income from Knowledge of Craft

Live Performance 97.8%Sideman 1.8%Sideman: Studio 0.4%

Label Advance 68.3%Record Sales 23.0%Record Sales: Tour 8.5%AARC 0.2%Digital PerformanceRoyalties 0.2%

Teaching 42.9%Speaking 24.8%Producer 15.7%Advisor 8.4%Grants and Awards 8.2%

Grants and Awards 62.9%Commission 21.6%PRO Royalties 6.8%Sheet Music 2.9%Publishing Income 2.7%Mechanicals 3.1%



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.

Performance Income by Territory

This chart illustrates Jazz Bandleader’s gross performance fee income for 2006-2011. Performance fees include fees received for appearing on radio programs in the US, UK, and Europe. His US engagements remain relatively stable at 56-64% of his activity each year, though his activity increased sharply in 2010 and 2011. His European income tripled in 2010 and stayed at that level in 2011. This is due to an increase in the number of shows. See below for details on the increase on the number of shows played in this time period.

Live Performance Income by Territory, 2006-2011



PRO Income by Territory and Album

Jazz Bandleader’s income from his PRO shows that his compositions are publicly performed or licensed in Canada, Australia, US, Europe, UK and Asia. 52% of his PRO income comes from US uses, and 24% comes from Europe. Of the US uses, more than half of the income is from monitored radio airplay.

The royalties generated by Jazz Bandleader’s compositions are relatively evenly spread out among the different types of uses (radio, internet, live performance). The lifespan of his compositions seems fairly long, as most of his compositions are getting steady use throughout the period of 2005-2011.

In 2010, as Jazz Bandleader began touring more aggressively, his composition catalogue earned more money from public performance use.

PRO Income by Territory, 2005–2011

PRO Income by Album, 2005–2011



Merchandise Income by Territory

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 artist’s 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.

Merchandise Income by Territory, 2006-2011



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, it’s easy to look at these numbers and think that the Jazz Bandleader’s 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 one’s career.

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