Jazz Bandleader Composer

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1 Jazz Bandleader Composer The following is the breakdown of 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. PRIMARY GENRE Jazz SECONDARY GENRES Classical Hip Hop ROLES Bandleader Composer Sideman Teacher YEARS ACTIVE 1995 present TIME SPENT ON MUSIC 100% INCOME DERIVED FROM MUSIC 100% This case study includes time series chart of income , revenue pies for each of the years , and an analysis of income versus expenses across time. It also includes analyses of income by territory, and by role.

2 Gross Revenue This section reviews the overall gross revenue numbers for for Jazz Bandleader, as well as definitions for each category. Gross Revenue, Live Performance 77.8% Composing 11.8% Recording 7.3% Sideman 1.8% Teaching 0.7% Knowledge of Craft 0.6% From , 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. 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. 2

3 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 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% Record Label Advance 12.1% 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. 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% 3

4 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. Revenue Category 2007 Details 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 PRO Royalties 1.2% Paid by his PRO Teaching 0.9% Advisor 0.6% He advised a foundation in a grant panel Speaking Engagement 0.2% Speaking at a university 4

5 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 He was a leader or co-leader on two releases on independent labels. He recorded and toured Europe and the US as a sideman. Revenue Category 2008 Details 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 PRO Royalties 0.6% Paid by his PRO Mechanical Royalties 0.5% Mechanicals paid by label Grants and Awards 0.3% Commission for new work by presenter Digital Performance Royalties 0.01% Paid to performer by SoundExchange 5

6 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 Revenue Category 2009 Details 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 PRO Royalties 0.5% Paid by his PRO Digital Performance Royalties 0.01% Paid to performer via SoundExchange 6

7 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 Revenue Category 2010 Details 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 PRO Royalties 0.4% Paid by his PRO Teaching 0.3% Advisor 0.2% He served on a grant panel for a foundation Digital Performance Royalties 0.04% Paid to performer via SoundExchange 7

8 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 Revenue Category 2011 Details Live Performance 90.3% As a bandleader, he toured US, Europe, Canada, Australia and Asia Grants and Awards 5.3% Six different commissioning projects PRO Royalties 1.4% Paid by his PRO 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% Mechanical Royalties 0.1% Mechanicals paid by label Digital Performance Royalties 0.02% Paid to performer via SoundExchange Breakouts 8

9 Income vs Expenses The pie charts below show aggregate gross income, and the related expenses for Gross Income, Gross Expenses, 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 Expense Category 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 9

10 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. Income v Expenses and Net, Recording Other Income Grants and Awards Live Performance Touring Expenses Overhead Production Expenses Recording Expenses Income by Role Income by Role, Jazz Bandleader s gross income can be divided into five categories: touring, recording, composing, session/sideman work and income related to his knowledge of craft. The chart to the right shows what percent of each year s income falls into these five categories. Clearly, live performance fees are a majority of his income. 10

11 Below are breakouts of of his income by role, from Income as Performer Income from Recordings 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 Performance Royalties 0.2% Income as Composer Income from Knowledge of Craft Grants and Awards 62.9% Commission 21.6% PRO Royalties 6.8% Sheet Music 2.9% Publishing Income 2.7% Mechanicals 3.1% Teaching 42.9% Speaking 24.8% Producer 15.7% Advisor 8.4% Grants and Awards 8.2% Role Details Touring 66.4% 78.7% 85.6% 59.9% 77.5% 90.3% Composing 18.1% 14.7% 3.6% 21.3% 9.1% 7.7% Recording 14.1% 1.2% 2.0% 16.3% 10.1% 1.2% Sideman 1.1% 1.8% 5.8% 1.8% 2.0% 0.2% Knowledge of Craft 0.3% 3.6% 3.0% 0.8% 1.2% 0.6% Live performance fees as a leader or soloist Mechanicals, PRO royalties, commissions, grants and awards, sheet music sales Record label advances, record sales, record sales on tour, digital performance royalties 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 it s the role through which he makes the vast majority of his income. He retains a booking agent to contract engagements for him in the US, Europe and other territories. 11

12 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 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 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 His European income tripled in 2010 and stayed at that level in 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,

13 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. PRO Income by Territory, 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 PRO Income by Album, In 2010, as Jazz Bandleader began touring more aggressively, his composition catalogue earned more money from public performance use. 13

14 Merchandise Income by Territory 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 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 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. 14

15 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. 15

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