i

Changing the Beat

A Study of the Worklife of Jazz Musicians

VOLUME II: 

AMERICAN FEDERATION OF MUSICIANS: 

SURVEY RESULTS

ADVISORY COMMITTEE

Dr. Billy Taylor, Chairman

David Baker Alvin Batiste

Jessie Bermudez Tom Carter

Geraldine DeHass Jon Faddis

Delfayeo Marsalis Dan Morgenstern

Jimmy Owens Patrice Rushen 

SPONSORS AND FUNDERS

The National Endowment for the Arts

The David and Lucile Packard Foundation

The Grammy Foundation

American Federation of Musicians

American Federation of Musicians Local 802

New Orleans Jazz & Heritage Foundation

The Nathan Cummings Foundation

A Study by Joan Jeffri

NEA Research Division Report #43

NATIONAL

ENDOWMENT

FOR THE ARTS
ii

Project Director:

Joan Jeffri, Director, Research Center for Arts and Culture

Teachers College Columbia University

Consultants:

Dr. Douglas Heckathorn, Cornell University

Dr. Robert Greenblatt

Project coordinators:

Adina Williams

Phillip Harvey

Project researchers:

Judith Hellman

Janine Okmin

Data consultants:

Oscar Torres

Judith Rosenstein

City Coordinators:

Detroit 

Dr. Bernard Brock 

Dr. David Magidson

Center for the Study of Art and Public Policy

Wayne State University

New Orleans

Philip Dobard, Director

Graduate Program in Arts Administration

University of New Orleans

New York 

Dr. Martin Mueller, Director

Jazz and Contemporary Music Program

New School University

San Francisco 

Dr. Dee Spencer, Director of Education

SF Jazz Organization

San Francisco State University

Library of Congress info here from Executive Summary 

Cover: Copyright of Photo
iii

Introduction 1

Purpose 1

Findings 2

Survey Background and Method 2

Organization of Report 3

Chapter I. Demographics 4

Chapter II. Employment and Income 6

Chapter III. Other Issues 14

Chapter IV. Summary and Conclusions 32

Appendices

A. Metropolitan Areas Used in the Study 34

B. Metropolitan Areas Context 35

C. Distribution of Responses 43

D. Survey Advance Letter 80

E. Response by Metro Area 81

F. Using the Capture-Recapture Method to Estimate 

the Number of Jazz Musicians 82

G. Resource Directory 84

Table of Contents 
iv
1

Purpose

Deemed a national treasure by the United States

Congress, jazz is a unique American art form, and its

musicians, the keepers and producers of this

treasure, are recognized the world over as America’s

cultural ambassadors. Yet, artists who make a living

as jazz musicians face numerous challenges. Despite

high-profile projects and activities, such as Jazz at

Lincoln Center’s Essentially Ellington high school

band competition, the Monterey and other jazz

festivals, or the Jazz documentary by Ken Burns, jazz

music does not reach as vast an audience as other

music forms, making it challenging to maintain and

continue this treasure.

Recognizing the importance of jazz and its

artists, the National Endowment for the Arts (NEA)

in 2000 commissioned a study of jazz musicians in

four U.S. metropolitan areas—Detroit, New Orleans,

New York, and San Francisco. The statistical

information gathered in the study, will be used to

help devise strategic ways to further the work of jazz

artists. These four cities were chosen for their

geographic diversity and their historical and current

relationships with jazz. The NEA had two purposes:

• To understand the environment for jazz in

each of the study cities by documenting both

the jazz artists and their resources and

support systems.

• To develop a detailed needs assessment from

jazz artists themselves by collecting data

documenting their professional lives and

most pressing needs.

This study provided an opportunity to examine

the working lives of jazz musicians in a systematic

way and to produce quantitative and qualitative

information about the jazz community, the

professional lives of jazz musicians, and jazz’s place

in the music industry.

Jazz musician and educator Dr. Billy Taylor

formed and chaired an advisory board to guide the

project as it developed. The study also created a

focus group of artists, managers, and educators, and

numerous jazz practitioners generously gave their

time to help advise this project. The study was

conducted in two parts: a survey of musicians

belonging to the American Federation of Musicians

(AFM) and a Respondent-Driven Sampling (RDS)

survey of jazz musicians. This volume focuses on the

AFM survey of jazz musicians in four cities. The

results of the RDS survey can be found in Volume

III. Both it and the Executive Summary, Volume I,

include results from three cities—New Orleans, New

York and San Francisco.

This study aims to support the continuing growth

and development of jazz and the musicians who create

it. Jazz musicians as a group, however, do not

constitute an easy subject for formal study. Indeed, for

decades it has been difficult simply to define the word

“jazz” itself. “It cannot safely be categorized as folk,

popular or art music,” states the New Grove Dictionary

of Jazz, “though it shares aspects of all three.” This

study relied on the musicians themselves to indicate

that they played jazz music.

To study jazz musicians, it is important to

understand the idiosyncratic nature of the music. As

A.B. Spellman indicated in his introduction to the

NEA publication, American Jazz Masters Fellowships

1982-2002, jazz was “built on the discipline of

collective improvisation...which allowed for

maximum expression of the individual within the

context of the group.” The group, however, is often

an ever-changing one. Unlike classical music, with

orchestral members staying together for decades, or

even rock, where more often than not musicians

make their music as a group, jazz musicians often

look for jams or gigs as individuals rather than as

part of a group. Indeed, a jazz group like the

Modern Jazz Quartet is remarkable for its longevity

as much as its music.

Working as an individual musician can be more

trying financially, in many ways, than working as a

group. This seems especially true in a musical form

that, while critically acclaimed as a national treasure,

does not sell many tickets or CDs. In fact, jazz

accounts for only four percent of annual recording

sales in the United States. It can be even more

difficult for emerging jazz artists to make a living

with their music; reissues of classic jazz recordings

have consistently outsold all but the most popular

contemporary jazz artists. Even that amount is

somewhat inflated by the inclusion of pop artists in

the jazz category.

Introduction 
2

which jazz musicians operate. By presenting a clearer

picture of the working life of the jazz artist, this

study will help the NEA develop and fund programs

that address the concerns and challenges jazz

musicians face in creating and playing their music.

Survey Background and Method

In an occupational sense, jazz musicians are

difficult to identify. While national-based surveys

such as the Current Population Survey, conducted

by the U.S. Census Bureau, are used to estimate the

labor force by occupation, the occupation categories

are not detailed enough to distinguish jazz

musicians from the larger classification of arts,

design, entertainment, and media occupations, or

even from the more specific category of musicians

and composers. In addition, the national-based

surveys do not cover detailed questions or subjects

germane to the study of jazz musicians.

Given these shortcomings, the National

Endowment for the Arts and the Research Center for

Arts and Culture partnered with the American

Federation of Musicians, AFM Local 802, the David

and Lucile Packard Foundation, the Grammy

Foundation, the American Federation of Musicians,

the New Orleans Jazz & Heritage Foundation, and

Institutional support for jazz exists but is small.

A few state and regional arts agencies and some

nonprofit foundations offer grants to individual

musicians, but often at low amounts; in this study,

of the musicians who received grants, more than 90

percent received $5,000 or less. The Lila WallaceReaders Digest Fund and the Doris Duke Charitable

Foundation have shored up institutions and

endowments of jazz presenters, created networks in

the jazz community, and provided venues for jazz

performance. The National Endowment for the Arts

has assisted these organizations with some of their

programs—such as the joint program with the Doris

Duke Charitable Foundation called JazzNet, which

furthers jazz creation, presentation, and education

with 14 regional jazz presenters. This program

ended in 1996, when Congress prohibited awarding

direct grants to individual artists, except for creative

writing and honorary awards in the folk and

traditional arts and jazz. The honorary award in

jazz, the American Jazz Masters Fellowship,

specifically sponsors jazz musicians who are

established and have achieved mastery of their art.

Emerging artists have little access to such support.

The data obtained through this study are crucial

to a better understanding of the environment in

Findings

➔ The top instruments played by jazz musicians are piano/keyboard, trumpet and drums.

➔ 58.4 percent of the respondents earned their major income as musicians in the last 12 months and

53 percent earned all their income from their music. On average, 43.9 percent of this income came

from work as a jazz musician. For Detroit, only 35.3 percent came from jazz work and in New

Orleans, 57 percent.

➔ 36.3 percent have a college degree and another 28.7 percent have a graduate degree.

➔ 64.7 percent think they should be paid for people downloading their music on the Internet.

➔ 74.9 percent received music-related training in the city or region where they now reside. This is

highest in Detroit (80.3 percent).

➔ 89 percent have health coverage; this is highest in Detroit at 92.1 percent. Only 18 percent obtained

it from the musicians union, only 7.8 percent in Detroit.

➔ 63.1 percent have life insurance, a high of 80.3 percent in Detroit and a low of 52.3 percent in San

Francisco.

➔ 77.3 percent have a retirement plan; 82.3 percent of San Francisco musicians have such a plan.

➔ 61.0 percent earned $40,000 or less as a musician in 2001. 7 percent earned over $100,000.

➔ 31.7 percent played over sixteen jobs a month and 40.7 percent play with more than four different

groups.

➔ 84.1 percent are male; 71.9 percent are white.
3

the Nathan Cummings Foundation to study and

report findings on jazz musicians. Since a nationalbased survey was beyond the means of the NEA and

its partners, the study was restricted to four

metropolitan areas1

: Detroit, New Orleans, New York

and San Francisco.

We selected a random sample of approximately

15 percent of the membership of each local of the

American Federation of Musicians in each of the

metropolitan areas under study. Since the union

does not distinguish between jazz and non-jazz

musicians, both types of members participated in

the survey. After sending an advance letter telling

musicians about the survey, we administered a 68-

question telephone questionnaire on a total of 2,500

musicians and received a 78.5 percent response

(1,963).

The union locals gave full participation to this

project: Detroit (local 5), New Orleans (local 174-

496), New York (local 802), and San Francisco (local

6). There is a long history of union involvement

with jazz musicians, not all of it easy. While union

participation in all professions is declining, the

musicians’ locals are contemplating methods for

their own survival. This is sometimes complicated

by the fact that union musicians in one city can join

another union local (New York, for example) with a

higher established minimum wage and then quit

their original local.

Characteristics

Some characteristics of the larger jazz

community made the isolation of four cities

particularly important since they represent different

geographic sections of the country, histories for jazz

musicians, levels of resources for jazz musicians, racial

and ethnic balances, and social and economic

environments. By studying jazz artists in such diverse

locations, we hope to represent more accurately the

range of situations for U.S. jazz musicians.

• The diversity in styles of jazz — musicians

often play to different audiences, venues, and

media with different levels of exposure

• Commercial (record companies and

recordings, venues, radio, television and

technology in jazz vs. non-commercial

support systems (foundations, corporations,

government) as well as the impact of

tourism, festivals and heritage

• The mobility of jazz musicians who tour,

both nationally and internationally

• The tendency of jazz musicians to play in

many different performance groups

• Four very different social and economic

environments with very different responsibilities and resources of union locals, jazz-related

foundations, and community organizations

Organization of Report

The report is organized in four sections,

presenting findings on demographics, income and

employment-related information, other issues

including professionalism, copyright, health and

welfare protection, musical styles and future goals of

jazz musicians, and a summary and conclusions.

Appendices include definitions and contexts for each

metro area studied, the distribution of responses by

metro area, the advance letter, the response by metro

area, an explanation of the method used to estimate

the number of jazz musicians and a directory of

resources for jazz musicians in each metro area.

Since the union does not distinguish between

jazz and non-jazz musicians, both were included in

the survey. The charts in this report show the

aggregate results of all four cities combined, plus

each city’s results, separated into jazz and non-jazz

musicians.

Jazz artists exist in a kind of no-man’s land

where earning a living from jazz is almost

impossible, and where even individual support such

as the American Jazz Master Fellowship awards from

the National Endowment for the Arts are not enough

to offset the hand-to-mouth existence of many jazz

musicians. Neither has jazz been the recipient of

significant philanthropic giving, although major

initiatives by the Lila Wallace-Readers Digest Fund

and the Doris Duke Charitable Foundation are

happy exceptions. These programs have shored up

institutions and endowments of jazz presenters,

created networks in the jazz community, and

provided money for more venues, performances and

jazz compositions.

1 See Appendix A for definitions and background descriptions of the metropolitan areas used and Appendix B for a context of

each of the cities.
Age, Gender, Marital Status

Eighty-four percent of jazz musicians are male

and 16 percent are female; 53 percent of non-jazz

musicians are male and 47 percent are female. The

mean age for jazz musicians is 53; the median is 50.

For non-jazz musicians the mean age is 50 and the

median 47. These ages are somewhat older than

those for other union performers we have studied.

Almost three quarters of the respondents are white

(72 percent jazz and 85 percent non-jazz), 18

percent jazz and 5 percent non-jazz are AfricanAmerican and about 2 percent jazz and 1 percent

non-jazz are Hispanic or Latino.

The age range for jazz musicians was from 16 to

92; the age of non-jazz musicians ranged from 23-90.

It is also interesting to note that almost half the

respondents (46 percent jazz and 50 percent nonjazz) claim only themselves as dependents with

another 29 percent jazz and 26 percent non-jazz

claiming two dependents.

Twenty percent of jazz and 23 percent non-jazz

musicians are single; 62 percent (jazz) and 60

percent (non-jazz) are married.

Education

Twenty-three percent of jazz and 12 percent of

non-jazz respondents have some college; 36 percent

of jazz and 37 percent of non-jazz musicians have a

college degree and an additional 29 percent of jazz

and 43 percent of non-jazz musicians have a

graduate degree. In 1997 in the Research Center’s

Information on Artists study, union actors in ten

U.S. cities were among the artists studied. Of the

AEA actors who responded:

>18 percent had some college

>45 percent had a college degree

>29 percent had a graduate degree.

4

Chapter I. Demographics*

* The confidence level for this survey is 95 percent with a 5 percent margin of error. Figures do not necessarily add up to 100

percent due to multiple answers and don’t know/refused. In the New Orleans metro area, the majority of respondents resided

in Orleans Parish; in Detroit in Wayne and Oakland Counties; in San Francisco, San Francisco and Alameda counties, followed

by San Mateo, Contra Costa and San Mateo Counties; and in the New York Metro area, New York County (includes

Manhattan) and Kings County (includes Brooklyn). (See Appendix).

Please indicate your highest level of formal education

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 elementary school, through

grade 8

Percent 0.3% 0.5% 0.0% 1.2% 0.0% 0.0% 0.5% 0.5% 0.0% 0.0%

Number 4 201004100

 some high school Percent 1.2% 0.7% 2.0% 1.2% 2.4% 2.8% 0.5% 0.5% 1.3% 0.0%

Number 19 3 6 1 6 1 4 1 3 0

 12th grade, but did not

graduate

Percent 0.9% 0.5% 1.0% 0.0% 1.2% 0.0% 0.8% 0.5% 0.4% 0.9%

Number 13 2 3 0 3 0 6 1 1 1

 12th grade, got GED Percent 0.6% 0.2% 0.7% 1.2% 0.4% 0.0% 0.7% 0.0% 0.4% 0.0%

Number 9 1 2 1 1 0 5 0 1 0

 12th grade, graduated from

high school

Percent 6.9% 3.7% 8.5% 3.5% 8.1% 5.6% 6.5% 3.6% 4.6% 3.6%

Number 105 16 26 3 20 2 48 7 11 4

 some college Percent 22.6% 11.5% 29.5% 9.4% 25.0% 16.7% 19.8% 10.7% 19.8% 12.6%

Number 346 49 90 8 62 6 147 21 47 14

Eighty-four percent of the jazz musicians

who are members of the American Federation of

Musicians are male, 72 percent are white, and

their networks consist primarily of other white

jazz musicians, followed by African-American

jazz artists.
5

and 78 percent of non-jazz musicians studied with

private teachers.

Twenty-six percent of both kinds of musicians

had conservatory or professional school training

which did not grant a degree and 79 percent of jazz

 college degree Percent 36.3% 37.4% 27.9% 34.1% 33.1% 33.3% 39.0% 39.3% 42.2% 37.8%

Number 556 160 85 29 82 12 289 77 100 42

 graduate degree Percent 28.7% 43.2% 26.9% 49.4% 26.2% 41.7% 30.7% 43.4% 27.0% 38.7%

Number 439 185 82 42 65 15 228 85 64 43

 other Percent 2.5% 2.3% 3.3% 0.0% 3.6% 0.0% 1.4% 1.5% 3.8% 6.3%

Number 38 10 10 0 9 0 10 3 9 7

missing 3 0 1 0 0 0 1 0 1 0

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

While the number of union musicians that have college degrees is about 10 percent lower than for union

actors, 28.7 percent of union jazz musicians, like union actors, and 43.2 percent of union non-jazz musicians

have graduate degrees.

Did you receive technical or professional training in the arts?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 no Percent 21.9% 23.8% 23.9% 22.4% 30.2% 19.4% 18.9% 25.0% 20.3% 24.3%

Number 336 102 73 19 75 7 140 49 48 27

 conservatory or professional

school not granting a degree

Percent 25.7% 26.4% 25.9% 16.7% 24.3% 27.6% 25.8% 25.2% 26.5% 35.7%

Number 307 86 60 11 42 8 155 37 50 30

 certificate program in the arts Percent 11.5% 12.0% 10.8% 18.2% 14.5% 10.3% 11.0% 10.2% 11.1% 10.7%

Number 137 39 25 12 25 3 66 15 21 9

 private teachers Percent 78.9% 78.2% 77.6% 72.7% 79.2% 82.8% 79.2% 83.0% 78.8% 72.6%

Number 943 255 180 48 137 24 477 122 149 61

 other (please specify) Percent 15.1% 13.2% 17.2% 12.1% 20.2% 13.8% 13.1% 11.6% 14.3% 16.7%

Number 181 43 40 8 35 4 79 17 27 14

total # of respondents who

answered this question
6

Employment

Fifty-eight percent of the jazz musician

respondents earned their major income in the last

12 months as musicians, 12 percent in non-music

related occupations and another 10 percent as music

teachers and 1 percent as jazz teachers. Fifty-seven

percent of the non-jazz musicians earned their

major income in the last 12 months as musicians, 11

percent in non-music related occupations, 12

percent as music teachers.

Forty-three percent of jazz and 48 percent of

non-jazz musicians are employed full-time in the

music business; 36 percent jazz) and 23 percent

(non-jazz) respectively are employed as full-time

freelancers in the music business and 22 percent

(jazz) and 28 percent (non-jazz) as part-time

freelancers in the music business. No one is

unemployed and 14 percent (jazz) and 9 percent

(non-jazz) are retired.

Thirty-two percent of jazz and 20 percent of

non-jazz respondents play more than 16 different

musical jobs per month.

Income

The extremes of income from music are evident.

As noted above, 58 percent of jazz respondents and

57 percent of non-jazz respondents earned their

major income in the last 12 months as musicians,

with New York (68 percent) being the highest for

jazz musicians, and New York (63 percent) and San

Francisco (62 percent) ranking the highest for nonjazz musicians.

Chapter II.

Employment and Income-Related Findings

From which occupation did you earn your major income in the last 12 months?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 Musician Percent 58.4% 56.8% 37.1% 42.4% 56.1% 41.7% 68.1% 62.8% 57.8% 62.2%

Number 894 243 113 36 139 15 505 123 137 69

 music teacher Percent 8.9% 11.7% 12.5% 11.8% 6.1% 16.7% 8.1% 11.7% 9.7% 9.9%

Number 136 50 38 10 15 6 60 23 23 11

 jazz teacher Percent 1.0% 0.0% 0.0% 0.0% 0.4% 0.0% 1.8% 0.0% 0.4% 0.0%

Number 15 0 0 0 1 0 13 0 1 0

 arts manager or administrator Percent 0.5% 0.9% 0.3% 1.2% 0.8% 2.8% 0.3% 1.0% 0.8% 0.0%

Number 7 4 11212220

 other music-related

occupation

Percent 6.5% 7.5% 5.9% 5.9% 4.4% 5.6% 7.4% 10.2% 6.3% 4.5%

Number 99 32 18 5 11 2 55 20 15 5

 non-music related occupation Percent 11.7% 11.2% 23.6% 15.3% 19.0% 22.2% 4.2% 6.6% 12.2% 12.6%

Number 179 48 72 13 47 8 31 13 29 14

 Other Percent 12.9% 11.7% 20.0% 23.5% 12.9% 11.1% 10.0% 7.1% 12.7% 10.8%

Number 197 50 61 20 32 4 74 14 30 12

Missing 5 1 20102100

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Just over half of the union musicians earned

their major income in the last 12 months as

musicians. Forty-three percent of jazz and 48

percent of non-jazz musicians are employed

full-time in the music business. And no one is

unemployed.
7

percent of jazz and 26 percent of non-jazz musicians

earned $7,000 or less as musicians in 2000. Twentytwo percent of the jazz and 19 percent of the nonjazz respondents earned between $20,001 and

$40,000 as total income from work as a musician in

2000.

Thirty percent of jazz and 34 percent of nonjazz musicians earned over $40,000 from their work

as musicians in 2000. Incomes were highest in New

York (43 percent of jazz and 47 percent of non-jazz)

with 12 percent of New York jazz and non-jazz

musicians earning over $100,000. Twenty-two

Total Detroit New Orleans New York San Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 $0- $500 Percent 7.5% 8.4% 15.4% 12.9% 8.9% 5.6% 3.2% 8.7% 9.3% 5.4%

Number 115 36 47 11 22 2 24 17 22 6

 $501- $3000 Percent 8.4% 9.6% 14.1% 11.8% 14.1% 13.9% 3.2% 5.6% 11.0% 13.5%

Number 128 41 43 10 35 5 24 11 26 15

 $3001- $7000 Percent 6.5% 8.4% 12.8% 9.4% 8.5% 13.9% 2.6% 6.1% 8.4% 9.9%

Number 99 36 39 8 21 5 19 12 20 11

 $7001-

$12,000

Percent 6.6% 7.0% 10.2% 10.6% 7.3% 16.7% 4.3% 4.1% 8.4% 6.3%

Number 101 30 31 9 18 6 32 8 20 7

 $12,001-

$20,000

Percent 10.2% 6.8% 11.2% 8.2% 13.3% 8.3% 8.6% 5.6% 10.6% 7.2%

Number 156 29 34 7 33 3 64 11 25 8

 $20,001-

$40,000

Percent 22.2% 18.7% 15.4% 21.2% 23.8% 33.3% 25.6% 11.7% 18.6% 24.3%

Number 340 80 47 18 59 12 190 23 44 27

 $40,001-

$60,000

Percent 13.1% 10.8% 3.0% 2.4% 10.1% 0.0% 17.7% 16.8% 14.8% 9.9%

Number 200 46 9 2 25 0 131 33 35 11

 $60,001-

$80,000

Percent 5.9% 7.5% 2.0% 4.7% 1.6% 2.8% 8.8% 8.7% 6.3% 9.0%

Number 90 32 6 4 4 1 65 17 15 10

 $80,001-

$100,000

Percent 3.9% 6.5% 4.9% 8.2% 0.0% 0.0% 4.7% 10.2% 3.8% 0.9%

Number 59 28 15 7 0 0 35 20 9 1

 more than

$100,000

Percent 7.0% 9.6% 2.0% 5.9% 1.6% 2.8% 11.9% 11.7% 3.8% 10.8%

Number 107 41 6 5 4 1 88 23 9 12

mean Dollars 33,487 36,516 19,316 28,491 20,683 19,122 44,972 45,518 29,205 33,586

median Dollars 30,000 30,000 9,500 16,000 16,000 9,500 30,000 50,000 16,000 30,000

missing 137 29 28 4 27 1 70 21 12 3

total # of

respondents who

answered this

question

1395 399 277 81 221 35 672 175 225 108

I am going to read a list of income ranges. Please let me know when I get to the category that describes your

total income from work as a musician from all sources for 2000 before taxes.

For almost half of the jazz musicians income

(44 percent) came from work as jazz musicians, in

other words, not playing weddings, bar mitzvahs

and all the other musical jobs jazz musicians do to

survive.

For 85 percent, these earnings covered musicrelated costs. For three-quarters of all musicians,

costs of music-related supplies, equipment, capital

improvements, publicity and marketing, travel and

cartage, recording and management costs, and

instrument insurance are less than $2,500. Thirtyfour percent spend $500-2,500 annually and another

14 percent spend $2,500-5,000 annually on their

instruments.
8

Did this money cover your music-related costs in 2000?

The mean total household gross income in 2000 before taxes for jazz musicians is $63,496; the median is

$70,000. For non-jazz musicians the mean is $70,493 and the median is $70,000.

The mean total income as an individual from all sources including work as a musician in 2000 before

taxes for jazz musicians is $49,847; the median is $50,000. For non-jazz musicians the mean is $50,894

and the median is $50,000.

The mean income as an individual from work as a musician in 2000 before taxes for jazz musicians is

$33,486; the median is $30,000. For non-jazz musicians the mean is $36,516 and the median is $30,000.

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 Yes Percent 84.6% 84.6% 79.0% 80.0% 87.1% 88.9% 87.2% 86.2% 81.0% 83.8%

Number 1296 362 241 68 216 32 647 169 192 93

 No Percent 12.0% 13.1% 16.4% 18.8% 9.7% 11.1% 9.6% 10.7% 16.5% 13.5%

Number 184 56 50 16 24 4 71 21 39 15

Missing 52 10 14 1 8 0 24 6 6 3

total # of respondents

who answered this

question

1532 428 305 85 248 36 742 196 237 111

What percentage of this income came from your work as a jazz musician in 2000?

Total Detroit New Orleans New York San Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Mean 43.9 6.0 35.3 5.1 57.0 18.3 44.6 4.2 39.0 5.6

Median 30 0 10 0 75 0 30 0 25 0

std. dev. 42.2 23.0 40.2 20.9 43.4 37.5 42.1 19.7 40.5 22.9

Mode 100 0 0 0 100 0 100 0 0 0

# answering this question 1440 416 284 83 230 36 697 188 229 109

missing 92 12 21 2 18 0 45 8 8 2

What percentage of this income came from your work as a jazz musician in 2000?

Almost half (49 percent) the jazz and over half

(52 percent) of non-jazz musicians earned over

$40,000 total gross income as individuals from all

sources including their work as musicians in 2000,

with 11 percent (jazz) and 12 percent (non-jazz)

earning over $100,000. Six and 10 percent of jazz

and non-jazz musicians, respectively, earned under

$12,000 as individuals from all sources in 2000.

I am going to read a list of income ranges. Please let me know when I get to the category that describes your

total income as an individual from all sources in 2000 before taxes, including your work as a musician.

Total Detroit New Orleans New York San Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 $0- $500 Percent 0.9% 1.9% 1.0% 3.5% 0.8% 2.8% 0.7% 1.5% 1.3% 0.9%

Number 13 8 3 3 215331

 $501-

$3000

Percent 1.1% 1.9% 2.3% 2.4% 0.8% 0.0% 0.7% 1.5% 1.3% 2.7%

Number 17 8 7 2 205333

 $3001-

$7000

Percent 1.1% 2.1% 2.3% 3.5% 2.0% 2.8% 0.3% 1.5% 1.3% 1.8%
9

Number 17 9 7 3 512332

 $7001-

$12,000

Percent 2.4% 4.0% 3.9% 3.5% 4.0% 11.1% 1.6% 3.1% 0.8% 3.6%

Number 36 17 12 3 10 4 12 6 2 4

 $12,001-

$20,000

Percent 7.1% 6.1% 7.2% 7.1% 11.3% 11.1% 4.6% 5.1% 10.6% 5.4%

Number 109 26 22 6 28 4 34 10 25 6

 $20,001-

$40,000

Percent 27.1% 24.5% 26.2% 29.4% 35.5% 50.0% 24.4% 15.8% 27.9% 27.9%

Number 415 105 80 25 88 18 181 31 66 31

 $40,001-

$60,000

Percent 19.8% 17.8% 16.4% 14.1% 17.3% 8.3% 20.6% 18.4% 24.5% 22.5%

Number 304 76 50 12 43 3 153 36 58 25

 $60,001-

$80,000

Percent 11.5% 11.2% 12.5% 10.6% 7.3% 5.6% 13.3% 12.2% 8.9% 11.7%

Number 176 48 38 9 18 2 99 24 21 13

 $80,001-

$100,000

Percent 6.4% 9.4% 8.9% 9.4% 1.2% 0.0% 7.0% 13.8% 6.8% 4.5%

Number 98 40 27 8 3 0 52 27 16 5

 more

than

$100,000

Percent 10.5% 12.4% 6.9% 9.4% 5.7% 2.8% 14.2% 13.8% 8.9% 15.3%

Number 161 53 21 8 14 1 105 27 21 17

Mean dollars 49,847 50,894 47,206 46,123 38,930 30,508 55,352 57,518 47,386 50,370

Median dollars 50,000 50,000 50,000 30,000 30,000 30,000 50,000 50,000 50,000 50,000

Missing 186 38 38 6 35 2 94 26 19 4

total # of

respondents

who

answered

this question

1346 390 267 79 213 34 648 170 218 107

percent of jazz and 13 percent of non-jazz musicians

earned between $20,001 and $40,000 in total gross

household income in 2000 before taxes; 15 percent

(jazz) and 14 percent (non-jazz) between $40,001

and $60,000.

Forty-seven percent of jazz and 55 percent of

non-jazz musicians earned over $60,000 in total

gross household income in 2000, with 22 percent

(jazz) and 31 percent (non-jazz) earning over

$100,000. Eight percent of jazz and six percent of

non-jazz musicians earned under $20,000. Seventeen

I am going to read a list of income ranges. Please let me know when I get to the category that describes your

total household gross income in 2000 before taxes.

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 $0- $500 Percent 0.5% 0.9% 1.0% 1.2% 0.0% 2.8% 0.5% 1.0% 0.4% 0.0%

Number 8 4 3 1 0 1 4 2 1 0

 $501- $3000 Percent 0.6% 0.7% 1.0% 1.2% 0.0% 0.0% 0.5% 0.5% 0.8% 0.9%

Number 9 3 3 1 0 0 4 1 2 1

 $3001- $7000 Percent 0.7% 0.0% 1.3% 0.0% 2.0% 0.0% 0.1% 0.0% 0.4% 0.0%

Number 11 0 4 0 5 0 1 0 1 0

 $7001- $12,000 Percent 1.9% 0.5% 3.0% 1.2% 3.2% 2.8% 1.5% 0.0% 0.4% 0.0%

Number 29 2 9 1 8 1 11 0 1 0

 $12,001-

$20,000

Percent 3.9% 3.5% 4.6% 5.9% 6.9% 5.6% 2.6% 3.6% 4.2% 0.9%

Number 60 15 14 5 17 2 19 7 10 1

 $20,001-

$40,000

Percent 17.2% 13.1% 18.7% 14.1% 24.6% 30.6% 13.3% 7.7% 19.8% 16.2%
10

Music-Related Grants and Fellowships

Only 17 percent of jazz and 2 percent of non-jazz

musicians applied for a grant as a jazz or aspiring

musician; the highest percentage of applicants came

from New York with 25 percent of jazz respondents.

Of 268 respondents, 36 percent or 97 jazz artists

received grants from the NEA; 8 percent (3) of nonjazz artists did. Fourteen percent of both kinds of

musicians received foundation grants and 12 percent

(3) of jazz and 8 percent (3) of non-jazz respondents

received state agency grants in 2000.

,

Number 264 56 57 12 61 11 99 15 47 18

 $40,001-

$60,000

Percent 15.0% 13.8% 14.8% 9.4% 16.9% 16.7% 14.4% 11.2% 15.2% 20.7%

Number 230 59 45 8 42 6 107 22 36 23

 $60,001-

$80,000

Percent 13.9% 12.2% 11.5% 16.5% 12.9% 16.7% 15.1% 9.2% 14.4% 12.6%

Number 213 52 35 14 32 6 112 18 34 14

 $80,001-

$100,000

Percent 10.3% 12.4% 10.2% 10.6% 8.1% 2.8% 10.4% 13.8% 12.2% 14.4%

Number 157 53 31 9 20 1 77 27 29 16

 more than

$100,000

Percent 22.4% 30.8% 18.7% 25.9% 9.3% 13.9% 28.0% 37.8% 23.2% 27.9%

Number 343 132 57 22 23 5 208 74 55 31

mean Dollars 63,496 70,493 59,053 66,322 51,169 50,963 69,021 76,833 64,252 69,498

median Dollars 70,000 70,000 50,000 70,000 50,000 50,000 70,000 90,000 70,000 70,000

missing 208 52 47 12 40 3 100 30 21 7

total # of

respondents who

answered this

question

1324 376 258 73 208 33 642 166 216 104

Have you applied for a grant or fellowship as a jazz or aspiring musician?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes Percent 16.5% 2.1% 7.2% 1.2% 13.3% 2.8% 24.7% 3.1% 5.9% 0.9%

Number 252 9 22 1 33 1 183 6 14 1

 no Percent 83.2% 97.4% 92.5% 98.8% 85.9% 97.2% 75.1% 95.9% 94.1% 99.1%

Number 1275 417 282 84 213 35 557 188 223 110

missing 5 2 1 0 2 0 2 2 0 0

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

If you received grants or fellowships as a jazz or aspiring musician, from what sources did you receive them?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 Never Received Percent 81.8% 91.4% 87.2% 90.6% 81.1% 88.9% 78.3% 93.9% 86.5% 88.3%

Number 1253 391 266 77 201 32 581 184 205 98

 National Endowment for

the Arts

Percent 36.2% 8.3% 11.1% 0.0% 22.7% 0.0% 50.0% 16.7% 15.6% 7.7%

Number 97 3 4 0 10 0 78 2 5 1

 other federal agency

(specify agency)

Percent 5.2% 2.8% 11.1% 0.0% 6.8% 0.0% 3.9% 0.0% 3.1% 7.7%

Number 14 1 4 0 3 0 6 0 1 1

 regional agency (specify

agency)

Percent 6.3% 0.0% 8.3% 0.0% 4.6% 0.0% 6.4% 0.0% 6.3% 0.0%

Number 17 0 3 0 2 0 10 0 2 0

 state agency (specify

agency)

Percent 12.3% 8.3% 8.3% 0.0% 15.9% 0.0% 14.1% 16.7% 3.1% 7.7%

Number 33 3 3 0 7 0 22 2 1 1
11

 local agency (specify

agency)

Percent 8.2% 5.6% 8.3% 14.3% 11.4% 0.0% 8.3% 8.3% 3.1% 0.0%

Number 22 2 3 1 5 0 13 1 1 0

 foundation (specify

foundation)

Percent 13.8% 13.9% 0.0% 0.0% 11.4% 0.0% 17.3% 41.7% 15.6% 0.0%

Number 37 5 0 0 5 0 27 5 5 0

 educational institution

(specify institution)

Percent 9.7% 8.3% 13.9% 0.0% 11.4% 25.0% 9.0% 8.3% 6.3% 7.7%

Number 26 3 5 0 5 1 14 1 2 1

 corporate sponsor

(specify sponsor)

Percent 1.5% 0.0% 2.8% 0.0% 0.0% 0.0% 1.3% 0.0% 3.1% 0.0%

Number 4 0 1 0 0 0 2 0 1 0

 other Percent 11.2% 2.8% 8.3% 0.0% 11.4% 0.0% 12.2% 0.0% 9.4% 7.7%

Number 30 1 3 0 5 0 19 0 3 1

Missing 11 1 0 0 0 0 5 0 0 0

# respondents 1532 428 36 7 44 4 742 196 237 111

total # of respondents who

answered this question

268 36 36 7 44 4 156 12 32 13

Of the 16 percent who received grants or

fellowships (it would appear that not all who

received grants applied for them), 93 percent

received between $0 and $5,000. This range was the

same for over 85 percent of those who received

music royalties or residuals, public assistance

(welfare) and/or unemployment benefits in the 

year 2000.

How much did you receive in 2000 before taxes in each of the following areas?

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 music-related

grants

 A $0- $5,000 Percent 93.0% 93.7% 92.8% 94.1% 91.9% 88.9% 93.1% 92.4% 93.7% 97.3%

Number 1424 401 283 80 228 32 691 181 222 108

 B $5,001-

$10,000

Percent 3.6% 3.7% 3.0% 3.5% 4.4% 8.3% 3.4% 3.6% 4.2% 2.7%

Number 55 16 9 3 11 3 25 7 10 3

 C $10,001-

$25,000

Percent 0.7% 0.9% 0.7% 1.2% 0.4% 0.0% 0.8% 1.5% 0.8% 0.0%

Number 11 421106320

 D $25,001-

$50,000

Percent 0.3% 0.2% 0.0% 0.0% 0.0% 0.0% 0.5% 0.5% 0.0% 0.0%

Number 4100004100

 E $50,001-

$75,000

Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0000000000

 f over $75,000 Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0000000000

mean 2,888 2,915 2,755 2,857 2,792 2,929 2,989 3,099 2,842 2,635

median 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500

 music-related

fellowships

 A $0- $5,000 Percent 94.2% 94.9% 93.8% 94.1% 93.6% 88.9% 94.5% 94.9% 94.5% 97.3%

Number 1443 406 286 80 232 32 701 186 224 108

 B $5,001-

$10,000

Percent 3.1% 3.7% 3.3% 4.7% 3.2% 8.3% 2.7% 3.1% 4.2% 2.7%

Number 48 16 10 4 8 3 20 6 10 3

 c $10,001-

$25,000

Percent 0.1% 0.0% 0.0% 0.0% 0.0% 0.0% 0.1% 0.0% 0.0% 0.0%

Number 1000001000

 d $25,001-

$50,000

Percent 0.3% 0.0% 0.0% 0.0% 0.0% 0.0% 0.5% 0.0% 0.0% 0.0%
12

,

Number 4000004000

 e $50,001-

$75,000

Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0000000000

 f over $75,000 Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0000000000

mean 2,764 2,689 2,668 2,738 2,667 2,929 2,851 2,656 2,714 2,635

median 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500

 music

royalties/residuals

 a $0- $5,000 Percent 84.7% 88.1% 91.8% 92.9% 92.3% 86.1% 77.1% 83.2% 91.1% 93.7%

Number 1297 377 280 79 229 31 572 163 216 104

 b $5,001-

$10,000

Percent 4.7% 6.5% 2.6% 2.4% 1.6% 11.1% 6.7% 9.7% 4.2% 2.7%

Number 72 28 8 2 4 4 50 19 10 3

 c $10,001-

$25,000

Percent 3.4% 0.5% 1.0% 0.0% 1.2% 0.0% 5.5% 1.0% 2.1% 0.0%

Number 52 2 3 0 3 0 41 2 5 0

 d $25,001-

$50,000

Percent 1.0% 0.5% 1.0% 0.0% 0.0% 0.0% 1.8% 0.5% 0.0% 0.9%

Number 16 2 3 0 0 0 13 1 0 1

 e $50,001-

$75,000

Percent 0.2% 0.7% 0.0% 1.2% 0.0% 0.0% 0.4% 0.5% 0.0% 0.9%

Number 3301003101

 f over $75,000 Percent 0.9% 0.5% 0.0% 0.0% 0.0% 0.0% 1.8% 1.0% 0.4% 0.0%

Number 0000000000

mean 2,764 2,689 2,668 2,738 2,667 2,929 2,851 2,656 2,714 2,635

median 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500

 music

royalties/residuals

 a $0- $5,000 Percent 84.7% 88.1% 91.8% 92.9% 92.3% 86.1% 77.1% 83.2% 91.1% 93.7%

Number 1297 377 280 79 229 31 572 163 216 104

 b $5,001-

$10,000

Percent 4.7% 6.5% 2.6% 2.4% 1.6% 11.1% 6.7% 9.7% 4.2% 2.7%

Number 72 28 8 2 4 4 50 19 10 3

 c $10,001-

$25,000

Percent 3.4% 0.5% 1.0% 0.0% 1.2% 0.0% 5.5% 1.0% 2.1% 0.0%

Number 52 2 3 0 3 0 41 2 5 0

 d $25,001-

$50,000

Percent 1.0% 0.5% 1.0% 0.0% 0.0% 0.0% 1.8% 0.5% 0.0% 0.9%

Number 16 2 3 0 0 0 13 1 0 1

 e $50,001-

$75,000

Percent 0.2% 0.7% 0.0% 1.2% 0.0% 0.0% 0.4% 0.5% 0.0% 0.9%

Number 3301003101

 f over $75,000 Percent 0.9% 0.5% 0.0% 0.0% 0.0% 0.0% 1.8% 1.0% 0.4% 0.0%

Number 14 2 0 0 0 0 13 2 1 0

mean 4,491 3,865 3,146 3,354 2,775 3,071 6,030 4,442 3,351 3,509

median 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500

 public assistance

(welfare)

 a $0- $5,000 Percent 94.9% 96.3% 95.1% 95.3% 95.6% 88.9% 95.0% 97.5% 93.7% 97.3%

Number 1454 412 290 81 237 32 705 191 222 108

 b $5,001-

$10,000

Percent 2.6% 2.8% 2.0% 3.5% 1.6% 8.3% 2.3% 1.5% 5.1% 2.7%

Number 39 12 6 3 4 3 17 3 12 3

 c $10,001-

$25,000

Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0000000000

 d $25,001-

$50,000

Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0000000000
13

 e $50,001-

$75,000

Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0000000000

 f over $75,000 Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

frequency 0000000000

mean 2,631 2,642 2,601 2,679 2,583 2,929 2,618 2,577 2,756 2,635

median 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500

 unemployment

benefits

 a $0- $5,000 Percent 94.5% 94.9% 94.4% 95.3% 94.4% 91.7% 94.6% 94.9% 94.1% 95.5%

Number 1447 406 288 81 234 33 702 186 223 106

 b $5,001-

$10,000

Percent 2.9% 4.0% 2.6% 3.5% 2.0% 8.3% 2.7% 3.6% 4.6% 3.6%

Number 44 17 8 3 5 3 20 7 11 4

 c $10,001-

$25,000

Percent 0.1% 0.2% 0.0% 0.0% 0.4% 0.0% 0.0% 0.5% 0.0% 0.0%

Number 1100100100

 d $25,001-

$50,000

Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0000000000

 e $50,001-

$75,000

Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0000000000

 f over $75,000 Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0000000000

mean 2,658 2,736 2,635 2,679 2,667 2,917 2,639 2,758 2,735 2,682

median 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500

missing

total # of respondents who

answered this question

(including refusals & don't

knows)

1532 428 305 85 248 36 742 196 237 111
14

Chapter III. Other Issues

Professionalism 

Seventy-eight percent of the respondents play or

sing jazz music. Of the non-jazz playing

respondents, 74 percent play or sing classical music

and 26 percent play other kinds of music.

Do you ever play or sing jazz music?

Do you consider yourself a professional jazz musician?

Total Detroit New Orleans New York San Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes Percent 100.0% 0.0% 100.0% 0.0% 100.0% 0.0% 100.0% 0.0% 100.0% 0.0%

Number 1532 0 305 0 248 0 742 0 237 0

 no Percent 0.0% 100.0% 0.0% 100.0% 0.0% 100.0% 0.0% 100.0% 0.0% 100.0%

Number 0 428 0 85 0 36 0 196 0 111

missing 0 0 0 0 0 0 0 0 0 0

total # of

respondents who

answered this

question

1532 428 305 85 248 36 742 196 237 111

* There are two respondents

who said they were neither

jazz nor non-jazz

If no, do you play or sing any other kind of music?

Sixty-three percent of those who play or sing

jazz music consider themselves professional jazz

musicians. This is highest in New Orleans (73

percent) and New York (64 percent) and lowest in

Detroit and San Francisco (57 percent). In our 1997

Information on Artists study, 96 percent of the

Actors’ Equity Association (AEA) union member

respondents considered themselves professionals.

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes Percent 63.3

%

0.0%57.4

%

0.0% 73.0

%

0.0%64.4

%

0.0%57.0

%

0.0%

Number 969 0 175 0 181 0 478 0 135 0

 no Percent 30.0

%

0.0%35.4

%

0.0%22.6

%

0.0%29.0

%

0.0%34.2

%

0.0%

Number 460 0 108 0 56 0 215 0 81 0

 3 other Percent 6.4% 0.0% 7.2% 0.0% 4.4% 0.0% 6.1% 0.0% 8.4% 0.0%

Number 98 0 22 0 11 0 45 0 20 0

missing 5 0 0 0 0 0 4 0 1 0

total # of respondents who

answered the question

1532 0 305 0 248 0 742 0 742 0

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 classical Percent 0.0%74.3% 0.0%77.7% 0.0%72.2% 0.0%69.4% 0.0%81.1%

Number 0 318 0 66 0 26 0 136 0 90

 other (please specify) Percent 0.0%25.7% 0.0%22.4% 0.0%27.8% 0.0%30.6% 0.0%18.9%

Number 0 110 0 19 0 10 0 60 0 21

missing 0 0 0 0000000

total # of respondents who

answered the question

0 428 0 85 0 36 0 196 0 111
15

Seventy-six percent of the jazz respondents (and

7 percent of the non-jazz musicians) played jazz for

money in the prior 12 months.

Have you played jazz for money during the last 12 months?

Where do you go to obtain routine health care?

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes Percent 76.3% 7.0% 67.9% 8.2% 82.7% 11.1% 79.1% 7.7% 71.7% 3.6%

Number 1169 30 207 7 205 4 587 15 170 4

 no Percent 23.1% 93.0% 31.5% 91.8% 16.5% 88.9% 20.2% 92.4% 28.3% 96.4%

Number 354 398 96 78 41 32 150 181 67 107

missing 9 0 2 0 2 0 5 0 0 0

total # of respondents

who answered this

question

1532 428 305 85 248 36 742 196 237 111

Initially, we separated the data for those jazz

musicians who said they considered themselves

professionals and those who said they did not, even

though in our own definition we considered union

membership a sign of professional status. There was

no significant difference between the two data sets,

so we combined them for analytical purposes.

Retirement, Health Coverage

For routine health care 55 percent of the

musicians surveyed go to private physicians, 45

percent of jazz and 48 percent of non-jazz musicians

go to an HMO, and 12 percent (jazz) and 8 percent

(non-jazz) receive routine health care from a

hospital outpatient department. Roughly one-third

of all respondents have received injuries from

occupational hazards in their music-related work

(for example, carpal tunnel syndrome, hearing

problems, etc.).

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 private physician Percent 54.4% 55.4%60.0%71.8%42.3%27.8%63.9%62.2%30.0%39.6%

Number 833 237 183 61 105 10 474 122 71 44

 HMO (health maintenance

organization) or PPO

Percent 44.7% 48.1%40.3%37.7%48.4%75.0%37.7%37.2%67.9%66.7%

Number 684 206 123 32 120 27 280 73 161 74

 hospital outpatient

department

Percent 11.6% 8.2%16.7%16.5%19.4%13.9% 5.0% 5.1%17.7% 5.4%

Number 178 35 51 14 48 5 37 10 42 6

 emergency room Percent 6.4% 4.7% 8.5% 8.2%12.5% 5.6% 3.2% 3.6% 7.2% 3.6%

Number 98 20 26 7 31 2 24 7 17 4

 I do not obtain routine health

care

Percent 6.9% 3.7% 7.2% 0.0% 7.7% 2.8% 6.9% 4.6% 5.5% 5.4%

Number 105 16 22 0 19 1 51 9 13 6

 arts-related medical facility

(please specify)

Percent 3.3% 2.6% 1.3% 2.4% 9.7% 8.3% 2.4% 1.5% 2.1% 2.7%

Number 51 11 4 2 24 3 18 3 5 3

 other Percent 7.5% 7.5% 9.2% 8.2% 9.7% 5.6% 6.2% 8.2% 7.2% 6.3%

Number 115 32 28 7 24 2 46 16 17 7

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111
16

respondents have more than one type of coverage).

Nine percent have disability coverage for loss of

income; 11 percent have some other group

insurance policy and 13 percent have some other

kind of health insurance. These include: Medicare,

the military, national health care from other

countries. (American Association of Retured

Persons).

Eighty-nine percent of jazz musicians and 93

percent of non-jazz musician respondents have

some health or medical coverage: 43 percent of the

jazz and 41 percent of the non-jazz musicians from

an HMO, 18 percent of jazz and 25 percent of nonjazz respondents from a PPO, 19 percent of jazz and

16 percent non-jazz musicians from a personal

policy through a private insurance company (some

Have occupational hazards in your music-related work caused you any injuries?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes Percent 31.9% 33.6% 25.9% 31.8% 26.6% 19.4% 33.3% 36.2% 40.9% 35.1%

Number 489 144 79 27 66 7 247 71 97 39

 no Percent 67.6% 65.7% 73.8% 68.2% 73.0% 80.6% 66.2% 62.2% 58.7% 64.9%

Number 1036 281 225 58 181 29 491 122 139 72

missing 7 3 1 0105310

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Do you have health or medical 

coverage?

Yes 

89%

No

11%

Do you have health or medical coverage?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes Percent 89.0% 92.8% 92.1% 97.7% 81.9% 91.7% 89.5% 90.8% 91.1% 92.8%

Number 1364 397 281 83 203 33 664 178 216 103

 no Percent 10.8% 7.2% 7.5% 2.4% 18.2% 8.3% 10.2% 9.2% 8.9% 7.2%

Number 165 31 23 2 45 3 76 18 21 8

missing 3 0 1 0 0 02000

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

If yes, which type do you have?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 HMO Percent 43.0% 40.8% 27.8% 31.3% 49.3% 72.7% 40.8% 30.9% 63.4% 55.3%

Number 586 162 78 26 100 24 271 55 137 57

 PPO Percent 18.2% 25.2% 24.2% 24.1% 21.2% 18.2% 14.0% 25.3% 20.4% 28.2%

N b

Do you have health or medical coverage?

If yes, which type do you have?
17

Thirty-seven percent of the jazz musicians

obtained their health coverage themselves, as did 30

percent of the non-jazz musicians. Fourteen percent

obtained it through their mates. Thirty-six percent

of the jazz musicians and 44 percent of the non-jazz

musicians, obtained this coverage through their

employers.

Only 18 percent of jazz and 14 percent of nonjazz musicians obtained health coverage through

their musicians’ union. For jazz musicians this

ranged from a low of 4 percent in New Orleans to a

high of 29 percent in New York. For non-jazz

musicians this ranged from a low of 1 percent in

Detroit, to a high of 27 percent in New York. In the

1997 RCAC Study of Actor’s Equity Association

members, forty-three percent of our 1997 AEA

actors obtained their health coverage through

unions.

Number 248 100 68 20 43 6 93 45 44 29

 personal policy through

private insurance company

Percent 19.4% 16.4% 22.8% 24.1% 20.7% 9.1% 19.9% 18.5% 12.0% 8.7%

Number 264 65 64 20 42 3 132 33 26 9

 disability coverage for loss

of income

Percent 9.4% 10.3% 12.8% 9.6% 8.4% 12.1% 8.0% 11.8% 10.2% 7.8%

Number 128 41 36 8 17 4 53 21 22 8

 group insurance policy

through arts/arts service

organization (specify

organizations)

Percent 10.9% 12.1% 8.5% 6.0% 4.9% 21.2% 15.8% 17.4% 4.6% 4.9%

Number 149 48 24 5 10 7 105 31 10 5

 other group insurance policy

(specify organization)

Percent 13.2% 10.6% 22.4% 15.7% 10.8% 9.1% 10.5% 11.8% 11.6% 4.9%

Number 180 42 63 13 22 3 70 21 25 5

 other Percent 14.7% 12.3% 19.6% 16.9% 10.8% 0.0% 15.7% 12.4% 9.3% 12.6%

Number 201 49 55 14 22 0 104 22 20 13

total # of respondents who

answered this question

1364 397 281 83 203 33 664 178 216 103

How was this health coverage obtained?

mate

14%

mate’s union 

or employer

10%

private company

6%

employer

36%

musician’s union

18%

self

37%
18

obviously a combination of payment sources, so

figures add up to much more than 100%.

The chart below represents the answers to the

questions, “Who pays for this insurance and what

percentage do they pay?” Please note that there is

How was this health coverage obtained?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 self Percent 37.1% 29.7% 30.6% 21.7% 41.4% 33.3% 37.2% 29.8% 41.2% 35.0%

Number 506 118 86 18 84 11 247 53 89 36

 mate Percent 13.6% 13.4% 11.4% 16.9% 11.8% 15.2% 13.3% 10.7% 19.0% 14.6%

Number 185 53 32 14 24 5 88 19 41 15

 employer Percent 35.5% 44.3% 52.3% 54.2% 44.3% 54.6% 25.5% 38.2% 36.1% 43.7%

Number 484 176 147 45 90 18 169 68 78 45

 my musicians' union Percent 18.0% 13.6% 9.6% 1.2% 3.9% 3.0% 28.9% 27.0% 8.8% 3.9%

Number 246 54 27 1 8 1 192 48 19 4

 mate's union or employer Percent 10.3% 11.6% 7.8% 12.1% 9.4% 12.1% 11.3% 12.4% 11.6% 9.7%

Number 141 46 22 10 19 4 75 22 25 10

 private company Percent 6.4% 3.8% 6.4% 6.0% 5.4% 9.1% 6.9% 2.8% 5.6% 1.9%

Number 87 15 18 5 11 3 46 5 12 2

total # of respondents who

answered this question

1364 397 281 83 203 33 664 178 216 103

WHO PAYS PERCENTAGE

THEY PAY

Jazz Non-jazz Jazz Non-Jazz

Self 50.6% 44.8% 62.9% 59.8%

Mate 19.8% 6.8% 50.7% 35.7%

Employer 29.8% 34.8% 82.6% 88.8%

Employer under contract 4.8% 4.7% 62.7% 74.6%

Musicians’ union 6.8% 4.7% 61.8% 81.7%

Mate’s union or employer 8.7% 10.8% 74.7% 88.6%

Private company 2.6% 1.8% 48.6% 45.8%

Arts/arts service organization 1.6% .8% 30.9% 48.6%

Other 8.7% 7.9% 68.8% 73.7%

This chart tells us that half of the jazz and close

to half of the non-jazz musicians pay for their health

insurance mostly themselves with a third getting

payments from their employers. Fewer than 7

percent receive payment for health insurance by the

musicians’ union. For this small percentage, the

union covers at least 62 percent of the cost.

By contrast, 18 percent of the union actors in the
19

RCAC’s 1997 study received some payment for health

insurance from the Actors’ Equity Association (AEA).

A September 2001 report by the Urban Institute

(http://www.urbaninstitute.org/), “Workers Without

Health Insurance: Who Are They and How Can

Policy Reach Them?, reports that, of the 16 million

uninsured workers in the United States, those most

likely to lack health insurance include workers in

small firms, low-wage earners, part-time workers

and those employed for a short-tenure. Many

musicians fit into these categories. Access to health

insurance is easier for whites through their spouses

and workers in large firms more likely to offer and

enroll them in employer-sponsored health

insurance. Since jazz musicians report working

many gigs with many different groups, it is likely

they are denied such access.

Sixty-three percent of jazz and 60 percent of

non-jazz respondents have life insurance, much

higher than the 1997 AEA actors (38 percent). Sixtynine percent of jazz and 61 percent of non-jazz

musicians obtained it themselves; for 22 percent

(jazz) and 30 percent (non-jazz) life insurance was

obtained through employers and 17 percent of jazz

and 16 percent of non-jazz musicians, obtained it

through their musicians’ union.

Do you have life insurance?

How was this insurance obtained?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes Percent 63.1% 59.6% 80.3% 81.2% 69.4% 52.8% 57.4% 55.6% 52.3% 52.3%

Number 967 255 245 69 172 19 426 109 124 58

 no Percent 35.8% 39.5% 19.0% 18.8% 30.2% 47.2% 41.1% 43.9% 46.4% 45.1%

Number 548 169 58 16 75 17 305 86 110 50

missing 17 4 2 0 1 0 11 1 3 3

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 self Percent 68.5% 61.2% 54.3% 55.1% 68.6% 63.2% 77.7% 67.0% 64.5% 56.9%

Number 662 156 133 38 118 12 331 73 80 33

 mate Percent 7.6% 6.7% 6.1% 5.8% 10.5% 0.0% 5.9% 8.3% 12.1% 6.9%

Number 73 17 15 4 18 0 25 9 15 4

 employer Percent 21.5% 30.2% 38.4% 36.2% 22.1% 31.6% 10.8% 28.4% 24.2% 25.9%

Number 208 77 94 25 38 6 46 31 30 15

 my musicians' union Percent 17.2% 15.7% 34.7% 20.3% 9.9% 10.5% 10.1% 11.9% 16.9% 19.0%

Number 166 40 85 14 17 2 43 13 21 11

 mate's union or employer Percent 2.4% 2.4% 3.3% 0.0% 3.5% 0.0% 1.4% 3.7% 2.4% 3.5%

Number 23 6 8 0 6 06432

 private company Percent 15.5% 12.6% 17.1% 20.3% 14.5% 15.8% 15.0% 10.1% 15.3% 6.9%

Number 150 32 42 14 25 3 64 11 19 4

total # of respondents who

answered this question

967 255 245 69 172 19 426 109 124 58

Seventy-seven percent of jazz and 79 percent of

non-jazz musicians have at least one retirement plan

(67% of the actors in the 1997 AEA study had this).

53 percent (jazz) and 50 percent (non-jazz) obtained

it themselves; 36 percent (jazz) and 33 percent (nonjazz) obtained this through the musicians’ union.

For 44 percent (jazz) and 51 percent (non-jazz) their

employer pays, and for 23 percent (jazz) and 20

percent (non-jazz) the musicians’ union pays.
20

Do you have at least one retirement plan?

Who pays for this retirement plan?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes Percent 77.3% 79.2% 76.1% 74.1% 77.8% 72.2% 76.0% 81.1% 82.3% 82.0%

Number 1184 339 232 63 193 26 564 159 195 91

 no Percent 21.8% 19.9% 23.0% 25.9% 22.2% 25.0% 22.6% 17.9% 17.3% 17.1%

Number 334 85 70 22 55 9 168 35 41 19

missing 14 4 3 0 0 1 10 2 1 1

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

If yes, how was the retirement plan obtained?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 self Percent 52.6% 50.4% 41.8% 47.6% 48.2% 42.3% 59.8% 52.2% 49.2% 51.7%

Number 623 171 97 30 93 11 337 83 96 47

 employer Percent 36.7% 47.8% 61.6% 60.3% 44.0% 50.0% 22.0% 41.5% 42.6% 49.5%

Number 435 162 143 38 85 13 124 66 83 45

 my musicians' union Percent 36.3% 32.7% 18.1% 22.2% 37.8% 34.6% 43.3% 38.4% 36.4% 29.7%

430 111 42 14 73 9 244 61 71 27

 arts/arts service

organization (specify

organization)

Percent 2.4% 0.6% 1.3% 0.0% 2.1% 0.0% 2.7% 1.3% 3.1% 0.0%

Number 28 2 3 0 4 0 15 2 6 0

 other Percent 8.5% 8.0% 10.3% 6.4% 4.2% 3.9% 8.2% 9.4% 11.3% 7.7%

Number 100 27 24 4 8 1 46 15 22 7

total # of respondents who

answered this question

1184 339 232 63 193 26 564 159 195 91

If yes, how was the retirement plan obtained?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 self Percent 72.1% 69.0% 69.4% 68.3% 75.7% 73.1% 72.2% 69.8% 71.8% 67.0%

Number 854 234 161 43 146 19 407 111 140 61

 mate Percent 5.4% 7.1% 6.5% 1.6% 2.6% 0.0% 4.3% 8.2% 10.3% 11.0%

Number 64 24 15 1 5 0 24 13 20 10

 employer Percent 44.2% 50.7% 57.3% 65.1% 46.1% 46.2% 36.9% 47.2% 47.7% 48.4%

Number 523 172 133 41 89 12 208 75 93 44

 my musicians' union Percent 22.6% 20.1% 11.6% 15.9% 27.5% 23.1% 25.9% 22.0% 21.5% 18.7%

Number 268 68 27 10 53 6 146 35 42 17

 arts service organization

(specify organization)

Percent 1.0% 0.3% 0.9% 0.0% 0.0% 3.9% 1.8% 0.0% 0.0% 0.0%

Number 12 1 2 0 0 1 10 0 0 0

 other Percent 4.0% 2.4% 5.6% 1.6% 3.6% 3.9% 3.4% 3.8% 4.1% 0.0%

Number 47 8 13 1 7 1 19 6 8 0

total # of respondents who

answered this question

1184 339 232 63 193 26 564 159 195 91
21

Recognition 

For 35 percent of jazz and 37 percent of nonjazz musicians, their first professional recognition

was their first paid job. Over a quarter of the

respondents chose to fill in the blank for “other” to

this question and responses varied from “I passed an

audition” to high school and community

recognition, festivals, writing a song for a major

artist, scholarships, recommendations from teachers,

joining the musicians’ union, to “just playing.” These

respondents feel generally that their talent has been

recognized locally (93 percent jazz; 90 percent nonjazz), nationally (58 percent jazz, 44 percent nonjazz), and internationally (51 percent jazz, 35

percent non-jazz).

Through what venue did your first professional recognition occur?

Has your talent been recognized:

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 award or honor Percent 3.1% 6.1% 3.6% 5.9% 4.0% 11.1% 2.4% 6.1% 3.4% 4.5%

Number 47 26 11 5 10 4 18 12 8 5

 feature article Percent 2.8% 1.6% 2.6% 1.2% 4.0% 0.0% 2.7% 1.5% 2.1% 2.7%

Number 43 7 8 1 10 0 20 3 5 3

 first paid job Percent 34.5% 37.2% 34.4% 38.8% 32.7% 41.7% 34.6% 34.2% 36.3% 39.6%

Number 529 159 105 33 81 15 257 67 86 44

 grant Percent 0.9% 0.2% 0.3% 0.0% 0.0% 0.0% 1.2% 0.5% 1.7% 0.0%

Number 14 1 1 0009140

 job with a known band Percent 16.3% 8.4% 15.7% 8.2% 20.6% 11.1% 15.0% 7.1% 16.5% 9.9%

Number 249 36 48 7 51 4 111 14 39 11

 played with a major artist Percent 8.8% 3.7% 7.2% 2.4% 3.6% 2.8% 11.9% 5.1% 6.8% 2.7%

Number 135 16 22 2 9 1 88 10 16 3

 winning a competition Percent 3.3% 8.6% 3.9% 14.1% 3.6% 5.6% 2.3% 8.7% 5.1% 5.4%

Number 50 37 12 12 9 2 17 17 12 6

 other (please specify) Percent 26.2% 29.0% 28.9% 28.2% 27.0% 25.0% 25.6% 29.6% 24.1% 29.7%

Number 402 124 88 24 67 9 190 58 57 33

missing 63 22 10 1 11 1 32 14 10 6

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 locally Percent 93.4% 90.0% 92.5% 91.8% 94.0% 80.6% 94.1% 90.3% 92.0% 91.0%

Number 1431 385 282 78 233 29 698 177 218 101

 nationally Percent 58.4% 43.7% 41.0% 41.2% 52.4% 27.8% 72.0% 53.1% 44.3% 34.2%

Number 894 187 125 35 130 10 534 104 105 38

 internationally Percent 50.7% 34.6% 29.2% 27.1% 44.8% 13.9% 65.5% 42.9% 38.0% 32.4%

Number 776 148 89 23 111 5 486 84 90 36

 talent not recognized Percent 2.2% 3.3% 3.9% 2.4% 2.8% 13.9% 1.4% 2.6% 1.7% 1.8%

Number 33 14 12 2 7 5 10 5 4 2

 other (please specify) Percent 1.5% 1.4% 1.3% 0.0% 3.2% 0.0% 0.8% 2.6% 2.1% 0.9%

Number 23 6 4 0 8 06551

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111
22

Eighty-five percent of jazz and 87 percent of with their music at this point.

non-jazz musicians are satisfied or very satisfied

Do you hold a copyright in some artistic work of your own creation?

Has your work ever been recorded?

How satisfied are you with your music at this point?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 very satisfied Percent 32.8% 35.8% 34.1% 38.8% 32.7% 30.6% 33.2% 35.7% 30.0% 35.1%

Number 502 153 104 33 81 11 246 70 71 39

 satisfied Percent 52.0% 51.2% 50.8% 50.6% 52.4% 52.8% 51.9% 51.0% 53.6% 51.4%

Number 797 219 155 43 130 19 385 100 127 57

 dissatisfied Percent 10.6% 9.8% 10.2% 8.2% 10.9% 16.7% 10.1% 8.7% 12.7% 10.8%

Number 163 42 31 7 27 6 75 17 30 12

 very dissatisfied Percent 1.6% 1.6% 2.0% 1.2% 0.8% 0.0% 1.4% 1.5% 2.5% 2.7%

Number 24 7 6 1 2 0 10 3 6 3

missing 46 7 9 1 8 0 26 6 3 0

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Copyright and Airplay

Just over half (55 percent) of the jazz musician

respondents and only 24 percent of the non-jazz

respondents hold copyright in some artistic work of

their own creation (compositions, books, etc). Sixty

percent have recorded their own work (40 percent of

the non-jazz), 75 percent (jazz) and 73 (percent)

non-jazz musicians have had their works recorded

by a professional company.

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes Percent 54.6% 23.6% 33.1% 17.7% 46.8% 16.7% 68.5% 30.6% 46.8% 18.0%

Number 836 101 101 15 116 6 508 60 111 20

 no Percent 45.0% 75.7% 66.2% 82.4% 52.4% 83.3% 31.1% 68.9% 53.2% 80.2%

Number 689 324 202 70 130 30 231 135 126 89

 don't know Percent 0.4% 0.7% 0.3% 0.0% 0.8% 0.0% 0.4% 0.5% 0.0% 1.8%

Number 6 3 1 0203102

missing 1 0 1 0000000

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes, by me Percent 59.5% 39.5% 54.4% 31.8% 54.0% 27.8% 65.6% 49.5% 52.7% 31.5%

Number 912 169 166 27 134 10 487 97 125 35

 yes, by a professional

recording company

Percent 74.6% 73.1% 64.9% 62.4% 68.6% 66.7% Data Missing 74.3% 74.8%

Number 1143 313 198 53 170 24 Data Missing 176 83

 other (please specify) Percent 9.0% 7.7% 8.2% 11.8% 9.7% 8.3% 80.7% 78.1% 7.2% 8.1%

138 33 25 10 24 3 599 153 17 9

missing

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111
23

For 81 percent of jazz and 72 percent of nonjazz musicians, their music has received airplay.

Almost no one paid to get airplay and 31 percent

(jazz) and 24 percent (non-jazz) musicians had help

from a promotional person. The musicians’

comments offered us insight into this, explaining

many different routes to airplay including:

• radio stations featuring local artists, some of

which contact the artists

• college radio stations

• work with orchestras, chamber music groups

• playing on different artists’ records, in movies,

commercials, theater companies

• record companies, advertising agencies

• live performance broadcasts

Has your music received airplay?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes Percent 81.1% 72.0% 73.8% 64.7% 79.8% 69.4% 84.8% 75.0% 80.6% 73.0%

Number 1243 308 225 55 198 25 629 147 191 81

 no Percent 17.2% 24.3% 23.9% 34.1% 18.2% 27.8% 13.9% 20.4% 18.1% 22.5%

Number 264 104 73 29 45 10 103 40 43 25

missing 25 16 7 1 5 1 10 9 3 5

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

If yes, how did you get this airplay?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 had help from a promotional

person

Percent 31.1% 24.4% 28.4% 18.2% 30.3% 8.0% 33.2% 28.6% 28.3% 25.9%

Number 387 75 64 10 60 2 209 42 54 21

 sent recordings out myself Percent 21.9% 9.1% 16.0% 3.6% 27.8% 8.0% 21.1% 10.2% 25.1% 11.1%

Number 272 28 36 2 55 2 133 15 48 9

 paid to get airplay Percent 2.8% 1.3% 2.2% 0.0% 3.0% 4.0% 2.5% 0.7% 4.2% 2.5%

Number 35 4 5 0 6 1 16 1 8 2

 knew some of the disc

jockeys

Percent 19.2% 7.1% 21.8% 9.1% 30.3% 4.0% 14.3% 6.8% 20.9% 7.4%

Number 239 22 49 5 60 1 90 10 40 6

 knew producer Percent 15.8% 9.1% 11.6% 7.3% 23.2% 20.0% 12.9% 10.2% 22.5% 4.9%

Number 196 28 26 4 46 5 81 15 43 4

 other Percent 55.3% 67.9% 60.0% 70.9% 46.5% 72.0% 58.7% 67.4% 47.6% 65.4%

Number 687 209 135 39 92 18 369 99 91 53

total # of respondents who

answered this question

1243 308 225 55 198 25 629 147 191 81

If yes, how did you get this airplay?

Forty percent of jazz musicians and 21 percent

of non-jazz musicians have played music that was

broadcast over the Internet. New York jazz musicians

are highest with 50 percent. Fifty-three percent of

jazz and 47 percent non-jazz musicians object when

this music is downloaded without payment and 65

percent of jazz and 50 percent of non-jazz musicians

think they should be paid. But 28 percent (jazz) and

32 percent (non-jazz) say they do not mind, and 37

percent like the exposure.
24

county or parish of their current residence for more

than 10 years. With an even higher response than

the RCAC’s other studies, 75 percent of the jazz and

66 percent of the non-jazz respondents (compared

to 62 percent in our other studies) received musicrelated training in the area or region.

Migration and Touring

As in all other studies of the Research Center,

artists seem to have a greater allegiance to their

home sites – 73 percent of jazz and 63 percent of

non-jazz responding musicians have lived in the

Have you played music that was broadcast over the Internet?

For how many years have you lived in the county or parish of your current residence?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes Percent 39.4% 20.6% 20.7% 17.7% 36.3% 13.9% 50.0% 20.4% 33.8% 25.2%

Number 604 88 63 15 90 5 371 40 80 28

 no Percent 42.4% 59.1% 63.9% 70.6% 43.6% 69.4% 31.1% 50.0% 48.5% 63.1%

Number 649 253 195 60 108 25 231 98 115 70

 don't know Percent 18.2% 20.3% 15.4% 11.8% 20.2% 16.7% 18.9% 29.6% 17.7% 11.7%

Number 279 87 47 10 50 6 140 58 42 13

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

If yes, how do you feel about people downloading this music without paying for your work?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 I do not mind Percent 28.2% 31.8% 36.5% 26.7% 28.9% 60.0% 26.4% 30.0% 28.8% 32.1%

Number 170 28 23 4 26 3 98 12 23 9

 like the exposure Percent 36.9% 36.4% 34.9% 26.7% 37.8% 40.0% 35.9% 37.5% 42.5% 39.3%

Number 223 32 22 4 34 2 133 15 34 11

 object Percent 53.0% 46.6% 52.4% 40.0% 48.9% 0.0% 55.8% 50.0% 45.0% 53.6%

Number 320 41 33 6 44 0 207 20 36 15

 think I should be paid Percent 64.7% 50.0% 61.9% 40.0% 64.4% 60.0% 65.0% 50.0% 66.3% 53.6%

Number 391 44 39 6 58 3 241 20 53 15

 no opinion Percent 5.8% 9.1% 4.8% 13.3% 3.3% 0.0% 7.0% 15.0% 3.8% 0.0%

Number 35 8 3 2 3 0 26 6 3 0

total # of respondents who

answered this question

604 88 63 15 90 5 371 40 80 28

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 under 1 year Percent 1.6% 4.0% 0.3% 3.5% 2.0% 2.8% 1.9% 3.1% 1.7% 6.3%

Number 24 17 1 3 5 1 14 6 4 7

 2-3 years Percent 5.9% 11.5% 3.6% 9.4% 4.8% 19.4% 5.8% 11.7% 10.1% 9.9%

Number 90 49 11 8 12 7 43 23 24 11

 4-5 years Percent 5.0% 5.8% 3.0% 2.4% 4.8% 5.6% 6.3% 6.6% 3.4% 7.2%

Number 76 25 9 2 12 2 47 13 8 8

 6-10 years Percent 14.5% 15.9% 8.5% 15.3% 12.1% 13.9% 18.3% 15.8% 12.7% 17.1%

Number 222 68 26 13 30 5 136 31 30 19

 more than 10 years Percent 73.1% 62.9% 84.6% 69.4% 76.2% 58.3% 67.7% 62.8% 72.2% 59.5%
25

Musicians are famous for touring, and these

respondents are no exception. Almost a quarter (25

percent jazz and 16 percent non-jazz) worked or

performed away from their main residences over 30

times in the previous 12 months.

Approximately how many times during the last 12 months did you work or perform away from home?

If you currently play with a group, how many different groups do you play with?

Number 1120 269 258 59 189 21 502 123 171 66

mean 4.5 4.2 4.7 4.4 4.6 4.1 4.4 4.2 4.4 4.1

median 5 5 5 5 5 5 5 5 5 5

missing 0 0 0 0 0 0 0 0 0 0

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Did you receive any music-related training in this city or region?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes Percent 74.9% 66.1% 80.3% 68.2% 65.3% 33.3% 78.2% 76.0% 67.5% 57.7%

Number 1147 283 245 58 162 12 580 149 160 64

 no Percent 25.1% 33.9% 19.7% 31.8% 34.7% 66.7% 21.8% 24.0% 32.5% 42.3%

Number 385 145 60 27 86 24 162 47 77 47

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Did you receive any music-related training in this city or region?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 zero Percent 25.1% 35.5% 37.1% 42.4% 23.0% 16.7% 19.3% 35.2% 30.0% 36.9%

Number 384 152 113 36 57 6 143 69 71 41

 1-5 times Percent 21.4% 25.2% 25.6% 22.4% 24.6% 41.7% 17.7% 22.5% 24.5% 27.0%

Number 328 108 78 19 61 15 131 44 58 30

 6-15 times Percent 18.5% 12.9% 17.1% 11.8% 20.6% 16.7% 17.9% 11.2% 19.8% 15.3%

Number 283 55 52 10 51 6 133 22 47 17

 16-30 times Percent 9.3% 9.6% 8.2% 7.1% 8.5% 11.1% 10.9% 10.2% 6.3% 9.9%

Number 142 41 25 6 21 4 81 20 15 11

 over 30 times Percent 24.7% 15.9% 10.5% 16.5% 22.2% 13.9% 33.3% 19.9% 19.0% 9.0%

Number 379 68 32 14 55 5 247 39 45 10

missing 16 4 5 0307212

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Playing in Bands

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 none, play solo only Percent 14.6% 16.6% 17.4% 11.8% 9.7% 13.9% 15.1% 21.4% 14.8% 12.6%

Number 224 71 53 10 24 5 112 42 35 14

 one Percent 12.5% 19.4% 14.4% 21.2% 17.3% 25.0% 10.2% 16.8% 12.2% 20.7%

Number 192 83 44 18 43 9 76 33 29 23
26

piano/keyboard.

On average, jazz respondents spend 2.7 hours a

day practicing their music; non-jazz musicians

spend 2.5 hours a day; the median for both is 2

hours a day and the mode (the number that appears

most often) is 1 hour a day.

Jazz Styles and Instruments

While all kinds of instruments are played, 16

percent of the jazz musicians play piano/keyboard

and 11 percent play trumpet; 23 percent of the nonjazz musicians play violin and 11 percent play

 two Percent 9.7% 12.2% 11.2% 12.9% 10.9% 27.8% 7.8% 9.2% 12.2% 11.7%

Number 148 52 34 11 27 10 58 18 29 13

 three Percent 11.2% 11.9% 14.4% 12.9% 13.7% 13.9% 9.0% 9.7% 11.0% 14.4%

Number 171 51 44 11 34 5 67 19 26 16

 four Percent 8.4% 6.8% 6.9% 10.6% 7.3% 8.3% 8.0% 4.6% 12.7% 7.2%

Number 128 29 21 9 18 3 59 9 30 8

 more than four Percent 40.7% 30.1% 33.4% 27.1% 38.3% 11.1% 46.0% 34.7% 35.9% 30.6%

Number 623 129 102 23 95 4 341 68 85 34

missing 46 13 7 3 7 0 29 7 3 3

total # of respondents

who answered this

question

1532 428 305 85 248 36 742 196 237 111

What is your primary instrument?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 alto sax Percent 1.1% 0.0% 0.7% 0.0% 2.0% 0.0% 1.4% 0.0% 0.0% 0.0%

Number 17 0 2 0 5 0 10 0 0 0

 banjo Percent 0.3% 0.0% 0.3% 0.0% 0.8% 0.0% 0.1% 0.0% 0.4% 0.0%

Number 5 0 10201010

 baritone sax Percent 0.7% 0.2% 1.3% 0.0% 1.2% 0.0% 0.4% 0.0% 0.4% 0.9%

Number 11 1 4 0303011

 bass Percent 8.4% 2.1% 5.9% 1.2% 0.0% 0.0% 8.4% 2.6% 8.9% 2.7%

Number 128 9 18 1 27 0 62 5 21 3

 bass clarinet Percent 0.2% 0.2% 0.3% 0.0% 10.9% 0.0% 0.3% 0.5% 0.0% 0.0%

Number 3 1 10002100

 cello Percent 2.4% 9.1% 1.6% 9.4% 1.6% 5.6% 2.7% 9.2% 3.0% 9.9%

Number 36 39 5 8 4 2 20 18 7 11

 clarinet Percent 3.2% 4.9% 3.0% 3.5% 4.8% 2.8% 2.4% 6.6% 4.2% 3.6%

Number 49 21 9 3 12 1 18 13 10 4

 cornet Percent 0.2% 0.0% 0.3% 0.0% 0.4% 0.0% 0.0% 0.0% 0.4% 0.0%

Number 3 0 10100010

 drums Percent 9.3% 0.9% 10.5% 0.0% 10.9% 0.0% 8.9% 1.5% 7.6% 0.9%

Number 143 4 32 0 27 0 66 3 18 1

 effects ( washboard,

whistles, etc.)

Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0 0 00000000

 flugelhorn Percent 0.1% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.4% 0.0%

Number 1 0 00000010

 flute Percent 1.8% 6.1% 2.6% 7.1% 0.4% 5.6% 1.2% 4.6% 4.2% 8.1%

Number 28 26 8 6 1 2 9 9 10 9
27

Thirty-eight percent (jazz) and 28 percent (nonjazz) spend over 40 hours a week on music or

music-related activities, including performing,

looking for work, and marketing; in New York this

reaches 50 percent for jazz musicians. Sixty-nine

percent (jazz) and 63 percent (non-Jazz) spend over

20 hours a week on this.

Jazz musicians play in many styles and our

respondents are no exception. The ones mentioned

most frequently are contemporary, swing,

traditional, mainstream, Latin and rhythm and

blues.

 guitar Percent 7.3% 5.8% 6.2% 7.1% 10.5% 8.3% 7.6% 6.1% 4.6% 3.6%

Number 112 25 19 6 26 3 56 12 11 4

 harmonica Percent 0.2% 0.2% 0.7% 0.0% 0.0% 0.0% 0.0% 0.5% 0.4% 0.0%

Number 3 1 20000110

 percussion Percent 2.4% 1.2% 3.0% 0.0% 2.4% 2.8% 2.0% 1.0% 3.0% 1.8%

Number 37 5 9 0 6 1 15 2 7 2

 piano/ keyboard Percent 16.1% 11.2% 15.1% 7.1% 10.9% 8.3% 18.7% 16.8% 14.4% 5.4%

Number 246 48 46 6 27 3 139 33 34 6

 saxophone Percent 8.7% 0.9% 9.2% 3.5% 6.9% 0.0% 9.0% 0.0% 8.9% 0.9%

Number 133 4 28 3 17 0 67 0 21 1

 trombone Percent 6.5% 1.9% 3.0% 1.2% 9.7% 5.6% 6.7% 2.0% 7.2% 0.9%

Number 100 8 9 1 24 2 50 4 17 1

 trumpet Percent 10.9% 3.0% 15.1% 3.5% 12.1% 8.3% 9.4% 3.1% 8.9% 0.9%

Number 167 13 46 3 30 3 70 6 21 1

 tuba Percent 0.5% 0.7% 0.0% 1.2% 1.2% 0.0% 0.7% 0.0% 0.0% 1.8%

Number 8 3 01305002

 vibraphone Percent 0.3% 0.0% 0.0% 0.0% 0.0% 0.0% 0.3% 0.0% 1.3% 0.0%

Number 5 0 00002030

 violin Percent 5.3% 22.9% 5.9% 23.5% 4.0% 27.8% 4.7% 20.4% 7.6% 25.2%

Number 81 98 18 20 10 10 35 40 18 28

 voice Percent 2.4% 2.6% 3.3% 2.4% 1.6% 0.0% 2.4% 2.0% 2.1% 4.5%

Number 37 11 10 2 4 0 18 4 5 5

 xylophone Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0 0 00000000

 other Percent 11.5% 25.9% 11.8% 29.4% 7.7% 25.0% 12.4% 23.0% 12.2% 28.8%

Number 176 111 36 25 19 9 92 45 29 32

missing 3 0 10002000

total # of respondents who

answered the question

1532 428 305 85 248 36 742 196 237 111

About how many hours per day do you spend practicing music?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Mean 2.7 2.5 2.2 2.5 2.7 2.4 2.9 2.6 2.4 2.3

Median 2 2 2 2 2 2 2 2 2 2

std. dev. 2.2 1.7 1.7 1.9 2.3 1.5 2.5 1.8 1.8 1.3

Mode 1 1 1 1 1 1 2 1 1 1

valid cases 1268 366 261 68 175 32 633 167 199 99

Missing 55 15 5 2 9 1 33 11 8 1

About how many hours per day do you spend practicing music?
28

Future Goals and Qualities Needed for

a Career in Jazz

Musicians were asked about the three most

important qualities needed to pursue a career in

jazz. While talent (23 percent) was the most

important quality for being a jazz musician, over 67

percent of the respondents chose the ‘Other’

category. Although the responses musicians gave in

In your opinion, what are the three most important qualities someone needs to pursue a career in jazz?

Over a third of jazz musicians spend over 40 hours per week on music-related activities; in New York

this is as high as 50 percent.

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 Choice 1

 business savvy Percent 1.2% 1.4% 1.3% 2.4% 2.0% 2.8% 0.8% 1.0% 1.7% 0.9%

Number 19 6 4 2 5 1 6 2 4 1

 connections Percent 0.4% 0.2% 1.0% 1.2% 0.8% 0.0% 0.0% 0.0% 0.4% 0.0%

Number 6 1 3 1 2 0 0 0 1 0

 curiosity Percent 0.4% 0.0% 0.7% 0.0% 0.8% 0.0% 0.3% 0.0% 0.0% 0.0%

Number 6 0 2 0 2 0 2 0 0 0

 energy Percent 0.8% 0.7% 1.0% 2.4% 2.4% 0.0% 0.4% 0.0% 0.0% 0.9%

Number 12 3 3 2 6 0 3 0 0 1

 intelligence Percent 1.2% 1.2% 1.0% 3.5% 2.4% 2.8% 0.9% 0.5% 0.8% 0.0%

Number 18 5 3 3 6 1 7 1 2 0

 luck Percent 0.5% 1.2% 0.7% 3.5% 1.2% 0.0% 0.3% 1.0% 0.0% 0.0%

Number 7 5 2 3 3 0 2 2 0 0

 perception Percent 0.2% 0.2% 0.3% 0.0% 0.4% 0.0% 0.0% 0.5% 0.4% 0.0%

Number 3 1 1 0 1 0 0 1 1 0

 performing ability Percent 1.8% 1.6% 1.6% 1.2% 2.8% 2.8% 1.2% 1.0% 2.5% 2.7%

Number 27 7 5 1 7 1 9 2 6 3

 physical stamina Percent 1.1% 0.7% 1.3% 1.2% 0.4% 5.6% 0.8% 0.0% 2.5% 0.0%

Number 17 3 4 1 1 2 6 0 6 0

 talent Percent 23.1% 30.8% 24.6% 24.7% 21.8% 38.9% 23.5% 34.7% 21.5% 26.1%

Number 354 132 75 21 54 14 174 68 51 29

 technique Percent 1.3% 0.2% 1.6% 0.0% 2.8% 0.0% 0.7% 0.5% 1.3% 0.0%

Number 20 1 5 0 7 0 5 1 3 0

 other Percent 67.3% 61.2% 63.9% 57.7% 60.9% 47.2% 70.6% 60.7% 67.9% 69.4%

Number 1031 262 195 49 151 17 524 119 161 77

missing 12 2 3 2 3 0 4 0 2 0

total # of respondents

who answered this

question

1532 428 305 85 248 36 742 196 237 111

the ‘Other’ category for questions about both

qualities and goals were much like the choices

presented to them in the questionnaire, clearly this

was a question where they did not wish to be placed

in pre-determined categories. Some of their

responses were: creativity, drive, musicality, faith,

confidence, punctuality, appearance, dedication,

versatility, overall good attitude.
29

In your opinion, what are the three most important qualities someone needs to pursue a career in jazz?

In your opinion, what are the three most important qualities someone needs to pursue a career in jazz?

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 Choice 2

 business savvy Percent 4.2% 1.6% 3.6% 3.5% 6.1% 2.8% 4.0% 1.5% 3.8% 0.0%

Number 65 7 11 3 15 1 30 3 9 0

 connections Percent 1.3% 1.2% 0.7% 2.4% 2.4% 0.0% 1.2% 1.0% 1.3% 0.9%

Number 20 5 2 2 6 0 9 2 3 1

 curiosity Percent 0.8% 0.2% 0.7% 0.0% 0.8% 0.0% 0.7% 0.5% 1.3% 0.0%

Number 12 1 2 0 2 0 5 1 3 0

 energy Percent 1.3% 1.4% 2.3% 2.4% 1.6% 5.6% 0.5% 1.0% 2.1% 0.0%

Number 20 6 7 2 4 2 4 2 5 0

 intelligence Percent 1.1% 1.2% 1.3% 3.5% 2.4% 0.0% 0.7% 1.0% 0.8% 0.0%

Number 17 5 4 3 6 0 5 2 2 0

 luck Percent 0.7% 1.2% 0.7% 1.2% 1.2% 0.0% 0.4% 1.5% 0.8% 0.9%

Number 10 5 2 1 3 0 3 3 2 1

 perception Percent 0.5% 0.5% 0.3% 0.0% 0.8% 2.8% 0.3% 0.5% 0.8% 0.0%

Number 7 2 1 0 2 1 2 1 2 0

 performing ability Percent 2.3% 1.4% 3.3% 2.4% 4.4% 5.6% 1.5% 0.5% 1.3% 0.9%

Number 35 6 10 2 11 2 11 1 3 1

 physical stamina Percent 2.1% 1.4% 2.0% 3.5% 3.6% 2.8% 1.9% 1.0% 1.3% 0.0%

Number 32 6 6 3 9 1 14 2 3 0

 talent Percent 9.9% 14.0% 9.8% 14.1% 9.7% 11.1% 9.7% 14.8% 10.6% 13.5%

Number 151 60 30 12 24 4 72 29 25 15

 technique Percent 1.4% 1.6% 2.3% 3.5% 1.6% 5.6% 0.4% 0.5% 3.0% 0.9%

Number 21 7 7 3 4 2 3 1 7 1

 other Percent 70.6% 71.3% 69.8% 57.7% 60.5% 63.9% 74.9% 73.5% 68.4% 80.2%

Number 1081 305 213 49 150 23 556 144 162 89

missing 61 13 10 5 12 0 28 5 11 3

total # of respondents

who answered this

question

1532 428 305 85 248 36 742 196 237 111

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 Choice 3

 business savvy Percent 3.5% 2.8% 3.9% 3.5% 4.0% 0.0% 3.2% 3.6% 3.0% 1.8%

Number 53 12 12 3 10 0 24 7 7 2

 connections Percent 1.1% 2.3% 1.6% 2.4% 0.4% 2.8% 0.8% 2.6% 2.1% 1.8%

Number 17 10 5 2 1 1 6 5 5 2

 curiosity Percent 0.6% 0.5% 0.0% 1.2% 0.8% 0.0% 0.8% 0.0% 0.4% 0.9%

Number 9 2 0 1 2 0 6 0 1 1

 energy Percent 1.2% 1.2% 1.3% 1.2% 2.0% 2.8% 0.7% 1.5% 1.7% 0.0%

Number 18 5 4 1 5 1 5 3 4 0

 intelligence Percent 1.2% 1.2% 1.0% 2.4% 1.6% 0.0% 1.2% 0.5% 0.8% 1.8%

Number 18 5 3 2 4 0 9 1 2 2
30

record, making more money, appearing in world

premieres by international orchestras, obtaining

local, national, international recognition, making a

cd, to “Wow, no one ever asked me this before.”

While reaching a higher level of artistic

expression/achievement (11 percent) was the most

important goal for the next five years, 62 percent of

the jazz musicians chose ‘Other.’ Comments here

included getting out of music, creating a gold

 luck Percent 2.3% 4.0% 2.0% 1.2% 2.4% 0.0% 2.6% 6.6% 1.7% 2.7%

Number 35 17 6 1 6 0 19 13 4 3

 perception Percent 0.5% 0.0% 1.0% 0.0% 0.4% 0.0% 0.3% 0.0% 0.8% 0.0%

Number 8 0 3 0 1 0 2 0 2 0

 performing ability Percent 2.0% 1.4% 2.3% 2.4% 4.4% 2.8% 0.9% 1.0% 2.1% 0.9%

Number 30 6 7 2 11 1 7 2 5 1

 physical stamina Percent 1.0% 1.2% 0.3% 2.4% 2.8% 2.8% 0.7% 0.5% 1.3% 0.9%

Number 16 5 1 2 7 1 5 1 3 1

 talent Percent 7.4% 6.8% 7.2% 3.5% 6.9% 5.6% 8.8% 7.7% 3.8% 8.1%

Number 113 29 22 3 17 2 65 15 9 9

 technique Percent 1.2% 1.4% 1.6% 1.2% 1.6% 2.8% 0.4% 1.0% 3.0% 1.8%

Number 19 6 5 1 4 1 3 2 7 2

 other Percent 68.7% 69.2% 68.2% 67.1% 60.9% 75.0% 70.2% 66.8% 73.0% 73.0%

Number 1053 296 208 57 151 27 521 131 173 81

missing 143 35 29 10 29 2 70 16 15 7

total # of respondents

who answered this

question

1532 428 305 85 248 36 742 196 237 111

What are your three most important goals for the next five years as a musician?

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 Choice 1

 develop artistic

competence

Percent 3.7% 2.3% 3.0% 3.5% 4.0% 5.6% 3.6% 1.0% 4.6% 2.7%

Number 57 10 9 3 10 2 27 2 11 3

 get a record deal Percent 5.8% 3.3% 4.3% 2.4% 4.8% 5.6% 7.1% 3.1% 4.6% 3.6%

Number 89 14 13 2 12 2 53 6 11 4

 lead my own groups Percent 1.2% 0.5% 1.0% 0.0% 1.6% 0.0% 1.4% 0.5% 0.8% 0.9%

Number 19 2 3 0 4 0 10 1 2 1

 make a living from

my music

Percent 4.5% 3.5% 3.3% 1.2% 7.3% 0.0% 4.0% 5.6% 4.6% 2.7%

Number 69 15 10 1 18 0 30 11 11 3

 make money from

my music

Percent 3.3% 3.3% 2.3% 3.5% 7.7% 5.6% 2.2% 2.6% 3.8% 3.6%

Number 51 14 7 3 19 2 16 5 9 4

 obtain critical reviews Percent 0.1% 0.0% 0.0% 0.0% 0.0% 0.0% 0.1% 0.0% 0.4% 0.0%

Number 2 0 0 0 0 0 1 0 1 0

 participate in major

concerts

Percent 0.9% 1.6% 0.7% 3.5% 0.4% 0.0% 1.1% 1.0% 0.8% 1.8%

Number 13 7 2 3 1 0 8 2 2 2

 play with well-known

groups

Percent 0.9% 2.6% 1.0% 4.7% 1.2% 11.1% 0.7% 1.5% 1.3% 0.0%

Number 14 11 3 4 3 4 5 3 3 0
31

 reach higher level of

artistic expression/

achievement

Percent 11.0% 10.8% 11.5% 11.8% 12.5% 13.9% 10.0% 10.2% 11.8% 9.9%

Number 168 46 35 10 31 5 74 20 28 11

 spend more time on

music

Percent 2.0% 2.6% 1.6% 4.7% 3.6% 0.0% 0.9% 2.0% 4.2% 2.7%

Number 31 11 5 4 9 0 7 4 10 3

 win

recognition/award

Percent 1.4% 0.2% 1.0% 0.0% 2.4% 0.0% 1.2% 0.5% 1.3% 0.0%

Number 21 1 3 0 6 0 9 1 3 0

 other Percent 62.3% 64.0% 66.9% 54.1% 49.6% 52.8% 65.8% 68.9% 59.1% 66.7%

Number 955 274 204 46 123 19 488 135 140 74

missing 43 23 11 9 12 2 14 6 6 6

total # of respondents

who answered this

question

1532 428 305 85 248 36 742 196 237 111
32

should be paid for people downloading their music

off the Internet.

While the union has both hard and soft referral

systems for jazz musicians, in some cities bookings

are hard to come by and an artist on a normal career

trajectory may saturate his market fairly quickly. In

some cities like San Francisco, the local union acts as

a booking agent, trying to find actual work for the

musicians. In New Orleans, where the black

musicians’ local and the white musicians’ local

combined, the locals used to own clubs on Bourbon

Street, but the costs of doing this became exorbitant.

Available work depends partly on the critical mass of

musicians, and also by the attitude towards those

musicians’ local growth. There is also a feeling that a

musician coming to New Orleans, for example, takes

three years to break in, then is able to secure

premium jobs and after about seven years, the

market is saturated, and he gets replaced by younger,

emerging musicians. And many musicians are

required to travel—24.1 percent performed away

from home over thirty times in the preceding year.

Especially in New York, musicians say they lose

money performing there, and make more on the

road. More economically viable gigs could help this

situation. Time and again, musicians, even those

who thought the music itself was thriving,

complained of fewer and fewer places to play. They

also wanted more inviting performance spaces, in

contrast to bars, clubs, and basements. Expansion of

venues to community centers, hospitals and other

public venues and more attention by the media

The American Federation of Musicians, like all

protective collective bargaining agencies, seeks to

protect its members and ensure them adequate

compensation for their work. The major income of

57 percent of the jazz musicians we surveyed was

from their music; for 53 percent, all of their income

came from work as a musician. No one, in fact, is

unemployed. Grants and fellowships play a minor

role, with 82 percent of the jazz musicians never

having received either.

While 100 percent of the respondents play or

sing jazz music, only 63.3 percent of them consider

themselves professional jazz musicians. This is

highest in New Orleans where 73 percent consider

themselves professionals and where 76.3 percent

played jazz for money during the last 12 months.

The usual corollary between professionalism and

income, or between professionalism and union

membership, does not seem applicable here.

There are a number of areas of ambivalence

from the jazz musicians we surveyed, some of which

are similar to all performing arts unions, especially

the issue of supply and demand and pay scale.

Jazz musicians who play non-union don’t have

the union as an advocate for a higher pay scale, but

many cannot get enough work being union

members, so multiple non-union jobs at a lower

scale may yield them more money. On the one hand,

musicians advocate the union stepping in to stop

low-paying jobs; on the other; they worry that, as a

result of union intervention, electronic media will

replace live musicians. And 64 percent think they

Chapter IV. Summary and Conclusions

Over half the union jazz musicians earned their livelihoods in the last 12 months as musicians. Over

three-quarters of them are white males. While in New York and San Francisco, the white and black

proportions of jazz musicians tend to be similar to each other in numbers, in New Orleans where 60.8

percent of the area’s population over age 18 was white, 66.5 percent of the AFM jazz musicians were

white. Of all the jazz musicians surveyed, 29 percent have graduate degrees, and 78.9 percent study with

private teachers. Seventy-three percent have lived in the county or parish of their residence for 10 or

more years, and 74.9 percent received training there. Eighty-nine percent of these musicians obtained

health insurance, only 18 percent of them through the union and the union pays for 7 percent; only

17.2 percent obtained life insurance through their musicians’ union and the union pays for 13 percent.

Thirty-six percent obtained retirement plans through the musicians’ union and for 22.6 percent the

union pays for their plans.
33

would get the word out.

In some cities, the union has been weakened by

the fact that musicians can belong to more than one

local and can, for example, go to New York where a

higher union minimum has been established, and

then quit their original union local. In New York,

too, the union had a profound effect on the

development of jazz. Intimately tied up with the

licensing of jazz clubs, the union often found itself

caught between being a champion of freedom of

expression, minimum wage and royalty payments

and the more pragmatic aims of developing

legitimate venues to play in.

But jazz musicians in this study are highly

educated, with 73.1 percent living in the same

county for over ten years, much higher than the

general population, and 79 percent having studied

with private teachers. In this primarily white,

primarily male union membership, 89 percent have

health care, 61 percent of those through an HMO or

a PPO. In this population, 31.9 percent have suffered

injuries from occupational hazards in music-related

work. While there are a number of performing arts

medicine clinics around the U.S. (and one that

specifically targets jazz musicians in Louisiana)

frequently musicians do not like to admit health

problems received on the job for fear of the effect on

future employment. There are some emergency relief

agencies like Music Cares and the Musicians

Emergency Fund that offer financial support to

musicians who have fallen prey to illness. These

agencies have proven themselves to be invaluable to

a number of artists who have used their services to

weather emergency conditions and more are needed.

Only 18 percent obtained health and medical

coverage through the union and the union pays for

only 7 percent of the health coverage. This compares

negatively with our 1997 figures for Actors’ Equity

Association, where the union paid for 18 percent of

the actors’ coverage. A much larger percent of the

musicians have life insurance (63.1 percent) and

retirement plans (77.3 percent), with 13 and 22.6

percent, respectively, paid by the union.

Even with the challenges described above, 93.4

percent of jazz musicians feel their talent has been

recognized locally, and over half feel that it has been

recognized nationally and internationally. A

majority of respondents, 84.8 percent, are satisfied

or very satisfied with their careers. Some artists do

not think of their work on a career track; careers, in

fact, are a fairly modern phenomenon—in the 1930s

and ’40s people just played music. Some feel they’ve

been “kept out of the market” and overlooked for

younger talent. Additionally, trepidation at using

computers and other tools of the trade

disadvantages older musicians. Programs in music

schools teaching jazz musicians about the business

side of their career would help them survive tough

competition.

The most important quality identified for

pursuit of that career is talent. Future goals for the

next five years include reaching a higher level of

artistic achievement and making a living from jazz,

and answers ranged from seeking more recognition

to making a gold record to wanting to be heard by

the public, the jazz community, and the union.
34

New Jersey

Essex County

Morris County

Sussex County

Union County

Warren County

Middlesex County

Somerset County

Monmouth County

Bergen County

Passaic County

Hudson County

Connecticut

Darien (Town)

Greenwich (Town)

New Canaan (Town)

Norwalk (City)

Stamford (City)

Weston (Town)

Westport (Town)

Wilton (Town)

San Francisco Metropolitan Area

Portions of San Francisco- Oakland- San JoseSanta Rosa- Vallejo/Fairfield/Napa surveyed

Oakland

Alameda County

Contra Costa County

San Francisco

Marin County

San Francisco County

San Mateo County

San Jose

Santa Clara County

Santa Rosa

Sonoma County

Vallejo- Fairfield- Napa

Napa County

Solano County

Detroit Metropolitan Area

Detroit- Ann Arbor- Flint

Ann Arbor

Lenawee County

Livingston County

Washtenaw County

Detroit

Lapeer County

Macomb County

Monroe County

Oakland County

St. Clair County

Wayne County

Flint

New Orleans Metropolitan Area

Jefferson Parish

Orleans Parish

Plaquemines Parish

St. Bernard Parish

St. Charles Parish

St. James Parish

St. John the Baptist Parish

St. Tammany Parish

New York Metropolitan Area

Portions of New York State- New JerseyConnecticut surveyed

New York State

Bronx County

Kings County

New York County

Putnam County

Queens County

Richmond County

Rockland County

Westchester County

Nassau County

Suffolk County

Orange County

Appendix A. Metro Areas Used in Study
35

In order to implement policies and programs

from the data gathered on jazz musicians, it is

important to understand the context in which these

musicians live. This section presents some brief

background of venues, distribution mechanisms,

education, supporters and funders, and media

outlets in each metro area. An additional section

provides actual resources in each location where jazz

musicians can go for assistance.*

There are literally hundreds of jazz related

venues that showcase this music all over the United

States. Festivals, nightclubs, community centers,

churches and national performing arts organizations

all offer musicians the opportunity to be heard.

Long a key part of the lore and personal experience

of every jazz musician, young or old, is the

mentoring of master to apprentice and the oral

transmission of musical artistry and knowledge

formally and informally, through these venues and

through inventions of their own. Resilience is key.

The description that follows only touches on the

fabric of the geographic locations that produces,

displays, advertises, sells and supports these

musicians. It does not pretend to illuminate the deep

and substantial history of the players or the places.

While jazz exists largely in the profit sector,

within the past decade there have been two major

grantmaking initiatives devoted to jazz that have had

major national significance: The Lila WallaceReader’s Digest $24 million National Jazz Network

and the $6.7 million Doris Duke Charitable

Foundation jazz initiative. The National Jazz

Network and affiliated programs was launched in

1990 after a year long study of jazz in the United

States conducted by the New England Foundation

for the Arts and, the now defunct National Jazz

Service Organization. The study resulted in the

funding of jazz presenters and programming

administered by regional arts agencies, the

Smithsonian’s traveling jazz exhibitions, and jazz

programming at National Public Radio. The

programs continued until 1998 when the foundation

decided to move away from discipline specific

funding.

Associations that work to track the progress of

the jazz form are dominated nationally by the

International Association of Jazz Education (IAJE),

The National Association of Recording Arts and

Sciences (NARAS), The Recording Industry

Association of America (RIAA), Broadcast Music,

Inc. (BMI), and the American Society of Composers,

Authors and Publishers (ASCAP).

There are a number of organizations that

endeavor to meet the less ostensible needs of the

national jazz community. These include The

American Federation of Jazz Societies (AFJS), which

acts as a kind of watchdog organization. It monitors

Washington legislation and current societal trends

that affect the jazz community.

National media coverage for jazz is spearheaded

by the following organizations: National Public

Radio (NPR), Public Broadcasting Service, Inc.,

Americans for the Arts, and Black Entertainment

Television (BET). National Public Radio is arguably

the key national provider of jazz programming.

Among the jazz oriented programs produced by

NPR are Jazz Profiles hosted by Nancy Wilson,

JazzSet with Dee Dee Bridgewater and Marian

McPartland’s Piano Jazz.

Detroit 

Though the Detroit jazz scene has seen a sharp

decline in popularity since the 1970s, many

members of the jazz community compare today’s

offering of venues to that of the 1950s. Instead of

large scale concerts in many different venues, only a

few major venues remain and the majority of jazz is

performed by small groups in restaurants and small

clubs. Few clubs are able to obtain big name

performers, therefore most headliners appear at the

Ford-Detroit Festival or at Detroit Symphony

Orchestra Hall. Ann Arbor is home to a few highquality jazz venues but there is not enough of a

demand to support multiple site performances on

one evening. While there has been hardship, the

Detroit metro area fortunately boasts a number of

venues that still draw a good crowd and keep the

area jazz scene alive. Among these venues are the

above-mentioned Ford-Detroit Jazz Festival, Detroit

Symphony Orchestra Hall, University Music Society,

SereNegeti Ballroom, Baker’s Keyboard Lounge and

Appendix B. Metropolitan Areas Context
36

Additionally, the Detroit School District Jazz

Education Program oversees jazz programs in 10

area high schools.

Wayne State University has a separate jazz

division within its Department of Music. The

University of Michigan School of Music houses the

Department of Jazz and Improvisational Studies and

offers Bachelor of Fine Arts degrees in Jazz, and

Contemporary Improvisation and Jazz Studies. The

Education Department at the Detroit Symphony

Orchestra sponsors the Ameritech Jazz Youth

Initiative, a program that provides instructional

classes, jam sessions and lectures with legendary jazz

artists for students and local musicians.

Most of the current mentors in Detroit are

musicians in their 60s, most of them the direct

successors of the original architects of the area jazz

scene. Marcus Belgrave, who serves on the faculty of

Wayne State University, is regularly cited as an

integral member of the Detroit area jazz community.

Belgrave has repeatedly leveraged his national

contacts to bring out of town artists to area venues.

Donald Walden has also established himself as an

important source of mentoring through his dual

role as University of Michigan Jazz Studies professor

and record label owner. Musician and educator

James Tatum plays a similar role by spearheading the

James Tatum Foundation for the Arts, a foundation

dedicated to the development of young musicians.

Other important figures include pianists Harold

McKinney and Dr. Teddy Harris, and drummer Roy

Brooks.

The Ford Motor Company Fund is extremely

active in area philanthropy with a great portion of

its giving earmarked for the arts, culture and

education. In its effort to communicate the

importance of jazz music, Ford sponsors the FordDetroit Jazz Festival, the largest free admission jazz

festival in the United States.

Detroit Jazz Online links to the web pages of

local musicians, and has an online CD store, and

jazz-related articles. The feature most helpful to

local musicians, however, is the “Need a Musician”

musician request center, which helps area artists find

work in the local region.

The major jazz oriented publications in the

region are the SEMJA Update, JAM Newsletter, Jazz

Quarterly, and the jazz calendar and listings of the

Detroit Metro Times.

Bomac’s Lounge.

The Ford-Detroit Jazz Festival, produced by

Music Hall Detroit, is the largest free jazz festival in

the country. Formerly known as the Ford-Montreux

Jazz Festival, it is held every Labor Day weekend, the

festival attracts around 750,000 people a year. The

festival typically features 20 nationally recognized

headliners and places a great deal of emphasis on

local artists as well. Along with area professional

musicians, the festival includes performances by

high school and college groups.

The SereNgeti Ballroom holds concerts

produced by the presenting organization, the

Jazznetwork. The concerts generally feature big

headliners but a local big band takes the stage once a

month and educational workshops are held every

Thursday night. Baker’s Keyboard Lounge has been

in operation since 1934. It has hosted jazz giants

such as Miles Davis, John Coltrane and Cab

Calloway, and now features both local and nationally

known artists. The venue is not unionized so both

union and non-union artists perform there and both

verbal and written contracts are used.

Jazz specialty stores are scarce in the Detroit

area and the large chains that carry jazz selections

such as Sam Goody, Borders Books and Music and

Detroit area chain Harmony House do not offer a

large stock. The independent record store Street

Corner Music is a major player in the area jazz scene

due to its efforts at promoting local and national

recording artists.

The only record labels that deal exclusively with

jazz are labels that musicians themselves have

formed for the sole purpose of recording their work.

AACE is owned by drummer Francisco Mora, Jazz

Workshop was started by University of Michigan

professor Donald Walden and saxophonist Wendel

Harrison operates Wenha. School Kids, a label

affiliated with the record store of the same name,

went bankrupt and thus ended the only operating

non-musician owned label in the Detroit area.

There are a number of formal jazz education

programs in the Detroit metropolitan area. Wayne

State University, Eastern Michigan University,

Oakland University, the University of Michigan, the

Jazz Network Foundation Education Programs, the

Education Department of Detroit Symphony

Orchestra and the Southeastern Michigan Jazz

Association all offer jazz related programs.
37

The two major jazz oriented radio programs in

the Detroit metro area are WDET FM 101.9 and

WEMU FM 89.1. WDET FM 101.9 is the local NPR

affiliate of Wayne State University.

The Jazz Alliance of Michigan was created to

provide for the growth of Michigan’s jazz

community. The Alliance’s website contains a list of

media resources for jazz, including publications,

radio and newspapers, links to recording studios,

sound equipment/engineers, venues for jazz, and

links to musicians.

New Orleans

New Orleans is known for its music festivals and

the Jazz & Heritage Festival is the grandest of the

choices the city has to offer. The New Orleans

community recognizes the many benefits of this

popular event and the business community joins

ranks with the public sector to ensure the festival’s

success. Jazz specific nightclubs aren’t as plentiful as

one would expect in the New Orleans area. Of the

four major sites, Snug Harbor is the most respected

and well received. Ellis Marsalis regularly performs

at Snug Harbor with new talent from the area jazz

community. The other area mainstays are the Funky

Butt, Sweet Lorraine’s and Tipitina’s, which has

gravitated toward presenting more R&B oriented

acts at its three locations. Other venues that present

jazz acts are the New Orleans Convention Center,

the Mahalia Jackson Theater for the Performing

Arts, the Masonic Temple Theater, Theater 13,

Orpheum Theatre, the Sandbar and the local

universities.

There are currently over 200 record labels

operating in the city of New Orleans. Of those

labels, only a handful are considered true players in

the jazz market. The best known of these labels are

All for One Records (AFO), Basin Street Records,

Louisiana Red Hot Records, and STR Digital

Records, all of which are independents.

The New Orleans metropolitan area is home to

over 100 record stores with the largest of these stores

coming in clusters. Barnes and Noble and Borders

Books and Records are both located in

unincorporated Jefferson Parish, an area 15 minutes

outside of New Orleans, while Tower Records and

Virgin Megastore stand within blocks of each other

in the French Quarter.

Many of the post-secondary institutions in the

New Orleans metropolitan area have developed solid

reputations for their music departments. The

University of New Orleans, Southern University,

Loyola University and Tulane University all have

music education programs that have distinguished

themselves in some manner. The Jazz Studies

Division within the Department of Music at The

University of New Orleans is led by legendary jazz

mentor Ellis Marsalis and is widely considered to be

one of the best university jazz programs in the

country. Similarly, Southern University’s Division of

Visual and Performing Arts is the professional home

of reed master Alvin Batiste who has mentored

many of today’s leading jazz artists. Loyola

University’s jazz program is considered a close

second to that of the University of New Orleans.

Loyola has an esteemed music business program

that is directed in part by STR record label chief,

Sanford Hinderlie and features Dr. Scott

Fredrickson, the recent appointee of the Conrad N.

Hilton Eminent Scholar in Music Industry Studies

award. Although Tulane University offers a jazz

studies program through its Department of Music at

Newcomb College, the school has received its

greatest acclaim from the jazz community for its

music library and archive. The William Ransom

Hogan Jazz Archive is curated by music historian

and musician Dr. Bruce B. Raeburn. The archive

contains material as diverse as transcribed oral

histories, historical manuscripts and sheet music,

and local union 174-496 records. The archive

attracts roughly 2,200 users a year and is primarily

funded through a “Friends of the Hogan Jazz

Archive” membership fund.

The New Orleans Center for the Creative Arts is

a New Orleans area performing arts high school

with a jazz division developed by Ellis Marsalis.

New Orleans has a healthy tradition of

mentoring that traces back to Louis Armstrong’s

work in developing young jazz artists. Today’s

mentors include Ellis Marsalis, patriarch of the

world famous Marsalis dynasty, Doc Pullian, Alvin

Batiste, the late Danny Barker and Jerry Brock. Aside

from the Marsalis dynasty, other family dynasties

include the Batistes and the Jordans.

The New Orleans’ jazz community receives a

good deal of financial support due in large part to a

concentrated effort on the part of local and national
38

traditions and keep the New Orleans jazz legacy

alive but, for many, jazz is tied to a nostalgia for a

day long past.

New York*

The New York metro area, and its other four

boroughs and tri-state (New York-New JerseyConnecticut) region, has the greatest concentration

of premiere jazz venues in the United States. It also

has a plethora of lower echelon venues, which may

present jazz irregularly, but remain significant to the

larger picture of potential employment for

musicians who identify themselves with “jazz.” New

York City’s venues range from Jazz at Lincoln

Center, the world’s leading not-for-profit

institutional producer of jazz concerts, dances,

lectures, films, multi-arts collaborations and

educational initiatives, to historic commercial

nightclubs such as the Village Vanguard. There are

innumerable larger and smaller, better and lesserknown, established or fleeting, jazz-dedicated or

jazz-tolerant stages.

Jazz at Lincoln Center presented 450 jazzoriented events in the 2000-2001season alone, and

plans to expand programming further upon moving

into an innovative multi-use building under

construction at Columbus Circle, scheduled for

completion by the end of 2003. Led by artistic

director Wynton Marsalis, Jazz at Lincoln Center

promotes a canon founded on the work of such

artists as Louis Armstrong and Duke Ellington,

concentrating as well on early New Orleans jazz,

black swing traditions of the 1930s and ’40s, bebop

and post-bop modernism, and Latin jazz; it also

presents a variety of traditional and modern jazz

sub-genres. Jazz at Lincoln Center often features

artists challenging jazz conventions in smaller

settings and/or auxiliary events.

Carnegie Hall, unlike Jazz at Lincoln Center, is

not a jazz producer-presenter, although it may be

New York City’s most famous concert facility. The

concert hall’s staff has worked in conjunction with

Fleet Bank to produce the Neighborhood Concert

series, has held jazz workshops for teachers and the

facility has hosted jazz concerts initiated by

agencies to preserve the romanticized history of the

port city. Local agencies include the Louisiana Music

Commission, the New Orleans Jazz Centennial, and

the New Orleans Jazz & Heritage Foundation.

The state and national agencies that work to

support the New Orleans area jazz community are

the Preservation Resource Center of New Orleans,

the New Orleans Jazz National Resource Park, and

the Louisiana Division of the Arts. New Orleans

talent agencies and work referral agencies are Jazz

Film & Video, the Louisiana Department of Labor/

Louisiana Job Service and Summer Stage. Union

Local 174-496 supports New Orleans area musicians

with a number of services including legal assistance

and health care.

Jazz and other forms of local music are

commonly used for the purpose of tourism in New

Orleans. The national tourism commercial for New

Orleans, “Come Join the Parade,” features a relative

of the New Orleans based group The Neville

Brothers seated at a bar while jazz is playing. In

addition, there are 10 advertising agencies in the

area that specialize in music.

The two top major jazz and jazz-related music

stations in the area are WWOZ 90.7 FM and

WWNO 89.9 FM. WWOZ 90.7 is a listener

supported and volunteer-operated station that

reaches the entire New Orleans metro area and

beyond. The station offers award winning

programming that includes jazz, blues, Cajun,

zydeco, gospel, Brazilian and Caribbean music on its

play list. In addition to the awards the station has

garnered, WWOZ 90.7 was named “Best Medium

Market Jazz Station of the Year” by the Gavin

Report, the major radio-industry programming

magazine.

Since jazz and other local music traditions are

integral to the image of New Orleans, it is of the first

priority that the city is able to cultivate an audience

for its musicians. However, with tourism being the

biggest crutch for an ailing economy, much of the

city’s audience development efforts are not centered

on area residents or concerned with fostering new

generations of local musicians. There are still storied

mentors and institutions that carry on local

*This section of this report was prepared with the help of the four city coordinators and project coordinator Phillip Harvey. In

New York, contributors include Howard Mandel (primary author), Martin Mueller. Bethany Ryker, James Browne, Wendy

Oxenhorn, Reverend Dale Lind, Natasha Jackson and Jeff Levinson.
39

independent, outside producers. George Wein is the

most prominent among these producers, active

internationally though based in New York City. His

Festival Productions is responsible for the annual

JVC Jazz Festival, Saratoga Jazz Festival, Verizon Jazz

Festival, and the Newport Jazz Festival (which he

founded in 1954); Festival Productions also

produces the Carnegie Hall Jazz Orchestra, led by

trumpeter Jon Faddis, which presented four

evening-long programs at Carnegie Hall during

2000-2001.

Jazzmobile, Inc., founded in 1964 by Dr. Billy

Taylor to “provide arts education programs of the

highest quality via workshops, master classes, lecture

demonstrations, arts enrichment programs, outdoor

summer mobile concerts, special indoor concerts

and special projects,” is a not-for-profit organization

without a performance home base, estimating

outreach to over 250,000 people in and around New

York City’s boroughs, with approximately 600 artists

participating annually. Jazz at Flushing Town Hall, in

Flushing, Queens, is a relatively new not-for-profit

institution presenting high quality mainstream jazz

in an active schedule of events at an outer-borough

(non-Manhattan) cultural center. 651 Arts is a notfor-profit organization staging jazz events on an

occasional basis at Brooklyn Academy of Music and

BAM’s Majestic Theater. Henry Street Settlement is a

smaller yet well-established not-for-profit jazz

performance and education center on Manhattan’s

lower east side. New Jersey Performing Arts Center

(Newark) is a newly built major concert hall, hosting

a regular season of jazz and world-music

performances. John Harms Center is another New

Jersey concert venue that serves as a rental for

outside producers presenting some jazz.

Other not-for-profit arts institutions presenting

jazz on various regular schedules include the Jazz

Gallery, the Kitchen Center for Music, Video and

Dance, Aaron Davis Hall at City College of New

York, the Studio Museum of Harlem, the

Guggenheim Museum, the Tillis Center on the C.W.

Post campus of Long Island University.

Not-for-profit jazz festivals and series in New

York City parks and public spaces include the Vision

Festival (two weeks of concerts curated by a

volunteer artist-musician-choreographer board); the

Charlie Parker Jazz Festival (two afternoon-long free

bebop concerts, in Harlem and East Village

Manhattan public parks); the City-produced Central

Park Summerstage series; the free Brooklyn Prospect

Park Bandshell series; free Lincoln Center Out of

Doors concerts and Midsummer’s Night Swing

(plaza dancing, some tickets sold); and the Music

Under New York program in the subways,

administered by the Metropolitan Transportation

Authority.

Profit-oriented or privately-subsidized festivals

include the Verizon Music Festival, J&R Music World

Jazz Festival, the Caramoor Jazz Festival

(Westchester County), the Cape May Jazz Festival,

the New Jersey Jazz Society festival (mostly

traditional jazz) in Stanhope, NJ, the Blues Cruise

(concerts on boats on the Hudson River), and Mark

Morganelli’s series of jazz concerts — usually

promoted under the banner JazzForum Arts —

mostly in suburban New York City and surrounding

towns.

Saint Peter’s Church has been recognized by the

Lutheran Synod of New York since 1956 for its jazz

ministry, including presentation of jazz in a spiritual

setting. St. Peters helped found International

Women in Jazz, a 200-member organization

presenting monthly concerts and occasional

workshops.

Of New York City’s famed nightclub scene: The

Blue Note opened in New York in 1981 and has

franchise outlets in Japan. The Village Vanguard was

established in 1935 by Max Gordon, late husband of

current owner Lorraine Gordon, and has been

renowned for booking jazz giants since the 1950s.

The Knitting Factory has presented jazz amid a

range of cutting edge (“downtown”) music for more

than a decade, currently at a bustling three-stage and

multi-media performance/recording facility with

multiple bars (it also has a restaurant-performance

center branch in Los Angeles). Iridium and Birdland

are major midtown Manhattan jazz clubs, with

week-long schedules presenting first rank jazz

musicians.

The Musician’s Union Local 802 is a source of

information on some aspects of venue-related

activities. An important distinction exists between

venues that offer “steady” as opposed to “occasional”

employment for jazz musicians. Corporate functions

such as noontime summer plaza concerts, and

uncounted “club dates,” private parties, weddings,

performances in hospitals, retirement centers, parks,
40

supports young people’s jazz programs, including

Jazz For Teens, an annual 10-week seminar for

musicians and singers learning jazz.

Several professional firms offer an array of

support services to jazz musicians but it should be

noted that most professional support services

represent an overhead cost to jazz musicians, and

the majority of them do not employ a professional

support staff.

The New York State Council on the Arts

(NYSCA) is one of the best-funded of all states arts

agencies and has given both direct and indirect

support to jazz-related projects. Recent recipients

include Jazzmobile, Jazz at Lincoln Center, Sixteen as

One, Inc. (Vanguard Jazz Orchestra) and the 92nd

Street YMHA, among others.

However, in comparison with the situation 10

years ago, there are at present few fellowships

awarded directly to jazz musicians — either from

NYSCA, the New York Foundation for the Arts

(NYFA), Meet the Composer, the Rockefeller

Foundation, the Lila Wallace/Readers Digest

Foundation or the National Endowment for the Arts

(NEA). An important fellowship program available

to jazz musicians directly in 2000-2001 was a onetime award of financial assistance and career

development consultation from the Doris Duke

Foundation to some two dozen musicians,

administered by Chamber Music America.

Lack of public and/or private funding has not

stopped musicians themselves from banding

together to improve their prospects and raise their

profiles in a crowded, competitive market, or address

urgent, immediate needs. The Musicians Union

(Local 802) has both MAP – Musician’s Assistance

Program, for union members in dire emergencies —

and MPTF, the Music Performer’s Trust Fund, which

matches 50/50 funds from qualified (mostly social

service) organizations hiring jazz musicians. The

Association for the Advancement of Creative

Musicians (AACM) is a not-for-profit musicians’

organization of approximately 200 members,

founded in Chicago in 1964, with an active New

York City chapter since the mid-1980s. Art Attack!, a

Website run by Margaret Davis, provides a breadth

of information about work, housing, insurance, food

and other necessities to anyone who finds it online.

The Jazz Foundation of America, run from offices at

the Musicians’ Union Local 802, is a private not-forlibraries, community centers and churches also serve

to employ jazz-identified musicians.

New York City (specifically, Manhattan) is the

site of major offices for all five of the world’s major

recording companies (Japan’s Sony, Germany’s

BMG, France’s Universal Music Group, America’s

Warner Bros., the UK’s Capitol/EMI), and the city

has a number of subsidiary labels that specialize in

signing jazz musicians. The creative and receptive

energy of the community of musicians and listeners

most deeply involved with jazz has also given rise,

out of vague necessity, to at least a dozen smaller,

independent record labels. There are uncounted

artist-owned and operated labels, too. New York City

is also a longtime center of music businesses

including but not limited to music publishing,

artists’ services (such as licensing organizations

ASCAP and BMI), copyist work, record retailers,

instrument repair shops and retailers.

An incredible concentration of institutions of

higher education and status as the jazz capital of the

world make New York City the mecca for those

seeking an education in jazz. The New School

University employs 72 jazz artists as

educators/mentors in a bachelor’s degree model

intended to pass down oral and playing traditions to

students, preparing them for the technical, artistic

and professional demands of a performance career

in jazz. The program’s part-time faculty are

unionized through Local 802, American Federation

of Musicians, a unique and unprecedented example

of collective rights organizing on behalf of

musicians in education.

The Manhattan School of Music offers a jazz

curriculum that focuses on the students as

performers, composers and educators in the present

day jazz market. The Juilliard School, in conjunction

with Jazz at Lincoln Center, has established an Artist

Diploma jazz education program that will feature a

broad jazz and classical music-based curriculum.

Young artists are also supported through the

important work of the major cultural institutions

that specialize in the preservation of jazz. Jazz at

Lincoln Center is a leader in presenting numerous

programs for young people, including the Essentially

Ellington High School Jazz Band Competition and

Festival, and in creating a Jazz for Young People

Curriculum, which will be distributed nationally.

The New Jersey Performing Arts Center also
41

profit providing emergency care, including housing,

health and dental care and career counseling to

musicians in crisis.

WBGO-FM is the area’s lone 24-hour radio

station featuring straight-ahead jazz programming,

though there is also extensive jazz broadcasting on

WKCR-FM (Columbia University), WFMU-FM

(Jersey City, NJ), WHRT (Hartford, CT) and

National Public Radio broadcasts heard on WNYCFM and AM (NYC), among other affiliates. There is

also CD101.9-FM, a popular, commercially

supported 24-hour “jazz lite” station.

San Francisco 

In addition to the nationally recognized SF Jazz

presenting organization, the San Francisco area is

home to a plethora of venues for jazz. These outlets

run the gamut from restaurants and festivals to

street fairs and churches. Yoshi’s, a nationally known

jazz venue, pulls double duty as a highly regarded

Japanese restaurant and sushi bar and soundstage

for local and big-name jazz musicians.

The Monterey Jazz Festival is one of the largest

jazz-based festivals in existence. It features over 600

artists who perform at seven different venues across

the Bay Area. Programming for the festival is

characterized by a variety of jazz styles and idioms

from local and internationally well known artists

The Church of St. John Coltrane is an African

Orthodox Church that incorporates jazz into its

Sunday worship services and recognizes saxophone

legend John Coltrane as a saint. The church features

a five-piece house band that sets the liturgy to

selections from Coltrane’s musical canon.

The Kuumba Jazz Center is a non-profit

presenting organization that has been hosting

weekly jazz performances for 25 years. It operates its

own venue and offers big name performers on

Monday nights and local musicians on Friday

nights. In addition, the center operates music

workshops and a camp for young people and rents

its space to other community cultural organizations.

The San Francisco Bay Area is home to a variety

of small and independent record labels, several of

which specialize in jazz. Of the independent labels

that deal primarily with the jazz idiom, Noir Records

and Concord Records are the most active. In

addition to ubiquitous retail giants Tower Records,

Virgin Megastore and Borders Books and Music, the

San Francisco area is home to a number of jazz

specialty stores. Many of these specialty stores sell

new and classic releases as well as collectible vinyl. A

few work with major distributors and some carry

the work of local artists on a consignment basis. Of

the independent specialty stores, Berigan’s, The Jazz

Quarter, and the SF Jazz store are the most

prominent. Berigan’s deals mainly with record

companies that buy from major distributors and

then sell to small record stores. The store is a strong

supporter of local artists. Charles Hamilton directs

the highly regarded Berkeley High School Jazz

Program, which has established itself as a valuable

resource for the continuation of the jazz legacy.

At the university level, San Francisco State

University boasts a strong reputation for attracting

up-and-coming musicians. The JazzSchool is a

community school that was founded by its current

director, Susan Muscarella. Course offerings are

intended for students of all ages, levels of expertise

and instrument preference. There are also a number

of individuals who are regarded as important

resources for the jazz community. These mentors

include Professor Bill Bell, John Handy, Earl

Watkins, Ed Kelly, E.W. Wainwright, Khalil, Yancey

Taylor, Jules Broussard, Eddie Marshall and Harley

White.

Some of the major funders who are active in the

San Francisco area are the California Arts Council,

See’s Candy, the Infiniti Division of Nissan North

America, Tower Records and the San Francisco

Traditional Jazz Foundation. Another important

support entity for the jazz community in Northern

California is The David and Lucile Packard

Foundation. Created in 1964 by David Packard and

Lucile Salter Packard, the Foundation supports

performing and visual arts institutions along with its

many other philanthropic concerns.

Due in large part to its proximity to Silicon

Valley, San Francisco features musicians who are

unusually savvy in regard to the creation and

maintenance of jazz-related Web sites and online

publications. Eighty-five percent of local musicians,

including students in jazz studies programs, have

personal Web sites. Additionally, nearly every jazzoriented venue and festival has a Web site. In

addition to the online publication Jazzwest.com, Jazz

Now and the Palo Alto Jazz Alliance Newsletter are
42

cable television channel BET-on-Jazz is available to

viewers in the Bay Area as well.

SF Jazz presents a film series entitled Jazz on

Film during the San Francisco Jazz Festival and the

SF Jazz spring season. The series features archival

footage of legendary performers, concerts and events

that have contributed to the development of the

music.

area-based publications that cater to a jazz audience.

Radio station KCSM FM 91.1 is the major jazz radio

station in the San Francisco metropolitan area,

having received this designation due to the fact that

it is the only station that has a 24-hour jazz format.

Other stations that feature jazz in their playlists

include KPFA, KUSF, KKSF, and KBLX. KKSF and

KBLX concentrate on appealing to the

contemporary jazz market. The nationally broadcast
43

NOTE: In the charts below, numbers are listed as valid percent (or the percent of people answering the

question) and frequency (sometimes called the count, or the actual number of people who answered

the question). The mean is the average; the median is the number where 50 percent are above and 50

percent are below; the mode is the figure that appears most often.

Appendix C. Distribution of Responses to the

American Federation of Musicians Survey

Do you ever play or sing jazz music?

If no, do you play or sing any other kind of music?

Do you consider yourself a professional jazz musician?

Total Detroit New Orleans New York San Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes Percent 100.0% 0.0% 100.0% 0.0% 100.0% 0.0% 100.0% 0.0% 100.0% 0.0%

Number 1532 0 305 0 248 0 742 0 237 0

 no Percent 0.0% 100.0% 0.0% 100.0% 0.0% 100.0% 0.0% 100.0% 0.0% 100.0%

Number 0 428 0 85 0 36 0 196 0 111

missing 0 0 0 0 0 0 0 0 0 0

total # of

respondents who

answered this

question

1532 428 305 85 248 36 742 196 237 111

* There are two respondents

who said they were neither

jazz nor non-jazz

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 classical Percent 0.0%74.3% 0.0%77.7% 0.0%72.2% 0.0%69.4% 0.0%81.1%

Number 0 318 0 66 0 26 0 136 0 90

 other (please specify) Percent 0.0%25.7% 0.0%22.4% 0.0%27.8% 0.0%30.6% 0.0%18.9%

Number 0 110 0 19 0 10 0 60 0 21

missing 0 0 0 0000000

total # of respondents who

answered the question

0 428 0 85 0 36 0 196 0 111

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes Percent 63.0% 0.0% 57.4% 0.0% 73.0% 0.0% 64.4% 0.0% 57.0% 0.0%

Number 969 0 175 0 181 0 478 0 135 0

 no Percent 30.0% 0.0% 35.4% 0.0% 22.6% 0.0% 29.0% 0.0% 34.2% 0.0%

Number 460 0 108 0 56 0 215 0 81 0

 other Percent 6.4% 0.0% 7.2% 0.0% 4.4% 0.0% 6.1% 0.0% 8.4% 0.0%

Number 98 0 22 0 11 0 45 0 20 0

missing 5000004010

total # of respondents who

answered the question

1532 0 305 0 248 0 742 0 742 0
44

What is your primary instrument?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 alto sax Percent 1.1% 0.0% 0.7% 0.0% 2.0% 0.0% 1.4% 0.0% 0.0% 0.0%

Number 17 0 2 0 5 0 10 0 0 0

 banjo Percent 0.3% 0.0% 0.3% 0.0% 0.8% 0.0% 0.1% 0.0% 0.4% 0.0%

Number 5 0 10201010

 baritone sax Percent 0.7% 0.2% 1.3% 0.0% 1.2% 0.0% 0.4% 0.0% 0.4% 0.9%

Number 11 1 4 0303011

 bass Percent 8.4% 2.1% 5.9% 1.2% 0.0% 0.0% 8.4% 2.6% 8.9% 2.7%

Number 128 9 18 1 27 0 62 5 21 3

 bass clarinet Percent 0.2% 0.2% 0.3% 0.0% 10.9% 0.0% 0.3% 0.5% 0.0% 0.0%

Number 3 1 10002100

 cello Percent 2.4% 9.1% 1.6% 9.4% 1.6% 5.6% 2.7% 9.2% 3.0% 9.9%

Number 36 39 5 8 4 2 20 18 7 11

 clarinet Percent 3.2% 4.9% 3.0% 3.5% 4.8% 2.8% 2.4% 6.6% 4.2% 3.6%

Number 49 21 9 3 12 1 18 13 10 4

 cornet Percent 0.2% 0.0% 0.3% 0.0% 0.4% 0.0% 0.0% 0.0% 0.4% 0.0%

Number 3 0 10100010

 drums Percent 9.3% 0.9% 10.5% 0.0% 10.9% 0.0% 8.9% 1.5% 7.6% 0.9%

Number 143 4 32 0 27 0 66 3 18 1

 effects ( washboard,

whistles, etc.)

Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0 0 00000000

 flugelhorn Percent 0.1% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.4% 0.0%

Number 1 0 00000010

 flute Percent 1.8% 6.1% 2.6% 7.1% 0.4% 5.6% 1.2% 4.6% 4.2% 8.1%

Number 28 26 8 6 1 2 9 9 10 9

 guitar Percent 7.3% 5.8% 6.2% 7.1% 10.5% 8.3% 7.6% 6.1% 4.6% 3.6%

Number 112 25 19 6 26 3 56 12 11 4

 harmonica Percent 0.2% 0.2% 0.7% 0.0% 0.0% 0.0% 0.0% 0.5% 0.4% 0.0%

Number 3 1 20000110

 percussion Percent 2.4% 1.2% 3.0% 0.0% 2.4% 2.8% 2.0% 1.0% 3.0% 1.8%

Number 37 5 9 0 6 1 15 2 7 2

 piano/keyboard Percent 16.1% 11.2% 15.1% 7.1% 10.9% 8.3% 18.7% 16.8% 14.4% 5.4%

Number 246 48 46 6 27 3 139 33 34 6

 saxophone Percent 8.7% 0.9% 9.2% 3.5% 6.9% 0.0% 9.0% 0.0% 8.9% 0.9%

Number 133 4 28 3 17 0 67 0 21 1

 trombone Percent 6.5% 1.9% 3.0% 1.2% 9.7% 5.6% 6.7% 2.0% 7.2% 0.9%

Number 100 8 9 1 24 2 50 4 17 1

 trumpet Percent 10.9% 3.0% 15.1% 3.5% 12.1% 8.3% 9.4% 3.1% 8.9% 0.9%

Number 167 13 46 3 30 3 70 6 21 1

 tuba Percent 0.5% 0.7% 0.0% 1.2% 1.2% 0.0% 0.7% 0.0% 0.0% 1.8%

Number 8 3 01305002

 vibraphone Percent 0.3% 0.0% 0.0% 0.0% 0.0% 0.0% 0.3% 0.0% 1.3% 0.0%

Number 5 0 00002030

 violin Percent 5.3% 22.9% 5.9% 23.5% 4.0% 27.8% 4.7% 20.4% 7.6% 25.2%
45

In what style do you play this instrument?*

Number 81 98 18 20 10 10 35 40 18 28

 voice Percent 2.4% 2.6% 3.3% 2.4% 1.6% 0.0% 2.4% 2.0% 2.1% 4.5%

Number 37 11 10 2 4 0 18 4 5 5

 xylophone Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0 0 00000000

 other Percent 11.5% 25.9% 11.8% 29.4% 7.7% 25.0% 12.4% 23.0% 12.2% 28.8%

Number 176 111 36 25 19 9 92 45 29 32

missing 3 0 10002000

total # of respondents who

answered the question

1532 428 305 85 248 36 742 196 237 111

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 avant-garde Percent 36.2% 23.8% 27.9% 16.5% 27.0% 8.3% 43.4% 26.5% 34.2% 29.7%

Number 555 102 85 14 67 3 322 52 81 33

 acid jazz Percent 18.2% 0.9% 16.1% 1.2% 12.9% 0.0% 21.0% 1.5% 17.3% 0.0%

Number 278 4 49 1 32 0 156 3 41 0

 blues Percent 71.0% 14.5% 74.4% 15.3% 71.0% 19.4% 71.3% 19.4% 65.4% 3.6%

Number 1087 62 227 13 176 7 529 38 155 4

 boogie-woogie/honky-tonk Percent 38.8% 8.9% 45.6% 8.2% 46.0% 8.3% 34.9% 12.8% 35.0% 2.7%

Number 595 38 139 7 114 3 259 25 83 3

 bop Percent 63.0% 5.4% 61.0% 4.7% 51.2% 5.6% 69.8% 4.6% 56.5% 7.2%

Number 965 23 186 4 127 2 518 9 134 8

 contemporary Percent 67.0% 40.2% 65.9% 31.8% 60.1% 50.0% 72.5% 43.9% 58.7% 36.9%

Number 1027 172 201 27 149 18 538 86 139 41

 cool Percent 56.8% 5.6% 54.8% 4.7% 51.2% 8.3% 60.7% 7.7% 53.2% 1.8%

Number 870 24 167 4 127 3 450 15 126 2

 free jazz Percent 40.7% 2.8% 36.7% 0.0% 37.1% 8.3% 45.8% 3.1% 33.3% 2.7%

Number 623 12 112 0 92 3 340 6 79 3

 funk Percent 52.0% 6.8% 43.0% 2.4% 50.0% 8.3% 58.4% 9.7% 46.0% 4.5%

Number 797 29 131 2 124 3 433 19 109 5

 fusion Percent 41.9% 3.5% 36.7% 0.0% 36.3% 2.8% 46.6% 6.1% 39.7% 1.8%

Number 642 15 112 0 90 1 346 12 94 2

 hard bop Percent 45.6% 1.2% 37.7% 0.0% 33.5% 0.0% 54.3% 1.5% 41.4% 1.8%

Number 699 5 115 0 83 0 403 3 98 2

 Latin Percent 65.5% 12.6% 67.2% 14.1% 59.7% 13.9% 66.9% 13.3% 65.4% 9.9%

Number 1004 54 205 12 148 5 496 26 155 11

 mainstream Percent 67.5% 14.5% 65.9% 11.8% 56.1% 11.1% 73.3% 18.4% 63.3% 10.8%

Number 1034 62 201 10 139 4 544 36 150 12

 regional style Percent 32.4% 7.5% 25.6% 8.2% 64.5% 22.2% 25.9% 5.1% 27.9% 6.3%

Number 496 32 78 7 160 8 192 10 66 7

 rhythm and blues Percent 63.0% 14.7% 66.9% 17.7% 66.9% 19.4% 61.2% 17.9% 59.5% 5.4%

Number 965 63 204 15 166 7 454 35 141 6

 scat Percent 22.9% 1.2% 23.3% 0.0% 28.6% 0.0% 22.2% 2.0% 18.6% 0.9%

Number 351 5 71 0 71 0 165 4 44 1

 ragtime/stride piano Percent 39.0% 16.6% 36.7% 15.3% 51.6% 25.0% 37.7% 19.9% 32.5% 9.0%
46

Number 597 71 112 13 128 9 280 39 77 10

 swing Percent 75.7% 21.3% 73.1% 18.8% 78.2% 30.6% 76.6% 26.5% 73.4% 10.8%

Number 1159 91 223 16 194 11 568 52 174 12

 traditional Percent 72.6% 27.1% 76.7% 29.4% 85.1% 36.1% 68.7% 28.1% 66.2% 20.7%

Number 1112 116 234 25 211 13 510 55 157 23

 world music Percent 42.0% 17.3% 32.8% 10.6% 33.5% 13.9% 49.2% 22.5% 40.1% 14.4%

Number 643 74 100 9 83 5 365 44 95 16

 other Percent 48.9% 75.7% 43.3% 75.3% 44.4% 63.9% 51.4% 76.5% 53.2% 78.4%

Number 749 324 132 64 110 23 381 150 126 87

total # of respondents who

answered the question

1532 428 305 85 248 36 742 196 237 111

*Does not total 100% due to

multiple response

This list is not exhaustive, but gives a

flavor for the variety of styles

About how many hours per day do you spend practicing music?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

mean 2.7 2.5 2.2 2.5 2.7 2.4 2.9 2.6 2.4 2.3

median 2 2 2 2 2 2 2 2 2 2

std. dev. 2.2 1.7 1.7 1.9 2.3 1.5 2.5 1.8 1.8 1.3

mode 1 1 1 1 1 1 2 1 1 1

valid cases 1268 366 261 68 175 32 633 167 199 99

missing 55 15 5 2 9 1 33 11 8 1

How many jazz musicians do you know by name in this metro area who also know you?

Total Detroit New Orleans New York San Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

mean 123.2 15.3 70.5 11.7 121.8 33.3 161.2 17.7 81.2 8.1

median 50 5 30 4 75 6 100 6 40 3

std. dev. 146.7 38.6 98.7 26.4 133.6 75.0 167.0 41.1 111.9 17.7

mode 100 0 100 0 100 0 500 0 100 0

valid cases 1407 407 291 81 230 35 660 181 226 110

missing 125 21 14 4 18 1 82 15 11 1

About how many hours per day do you spend practicing music?

How many jazz musicians do you know by name in this metro area who also know you?

Of these jazz musicians you know by name in this metro area who also know you, how many are:

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

25 years or younger

mean 18.6 1.9 14.0 2.3 19.1 4.5 24.5 1.6 7.1 1.2

median 5 0 2 0 7 0 10 0 1 0

std. dev. 40.9 5.8 43.3 7.5 33.9 10.0 47.1 4.2 13.2 4.2

mode 0 0 0 0 0 0 0 0 0 0

valid

cases

1314 297 274 58 217 30 608 134 215 75
47

missing 50 1 3 1 8 0 35 0 4 0

Women

mean 15.4 2.7 8.8 3.3 10.8 1.4 21.9 3.1 10.0 1.9

median 5 1 3 1 4 0 10 1 5 0

std. dev. 30.7 8.2 17.4 10.7 18.3 2.4 40.0 9.5 16.5 3.7

mode 0 0 0 0 0 0 20 0 0 0

valid

cases

1345 297 277 58 225 30 624 134 219 75

missing 19 1 0 1 0 0 19 0 0 0

American Indian or Alaska Native

mean 0.6 0.1 0.5 0.1 0.7 0.0 0.5 0.1 0.5 0.1

median 0 0 0 0 0 0 0 0 0 0

std. dev. 2.5 0.5 2.6 0.5 3.4 0.0 2.0 0.6 2.4 0.2

mode 0 0 0 0 0 0 0 0 0 0

valid

cases

1227 290 257 57 206 28 562 130 202 75

missing 137 8 20 2 19 2 81 4 17 0

Asian

mean 7.1 0.7 2.2 0.7 3.6 0.3 11.4 1.0 4.7 0.4

median 2 0 0 0 2 0 5 0 2 0

std. dev. 20.8 3.0 5.2 2.9 8.2 1.0 29.1 3.8 7.8 1.3

mode 0 0 0 0 0 0 0 0 0 0

valid

cases

1296 292 272 57 219 29 595 131 210 75

missing 68 6 5 2 6 1 48 3 9 0

Black or African American

mean 53.1 7.0 35.4 5.2 60.2 9.6 69.6 9.2 21.5 3.6

median 20 2 15 2 30 3 30 3 8 1

std. dev. 77.3 18.6 57.4 7.4 83.5 18.5 87.9 24.8 35.2 9.1

mode 1 50 0 5 1 20 0 100 0 0 0

mode 2 50

valid

cases

1310 295 272 58 223 30 603 132 212 75

missing 54 3 5 1 2 0 40 2 7 0

Hispanic or Latino

mean 15.6 1.7 6.2 1.2 8.6 1.3 24.2 2.4 10.3 1.1

median 5 0 2 0 2 0 10 0 4 0

std. dev. 29.1 4.3 16.1 2.6 15.7 4.1 37.2 5.4 17.9 3.0

mode 0 0 0 0 0 0 0 0 0 0

valid

cases

1279 289 265 57 214 29 589 129 211 74

missing 85 9 12 2 11 1 54 5 8 1

Native Hawaiian or Other Pacific Islander

mean 0.8 0.1 0.5 0.0 0.5 0.0 0.8 0.1 1.7 0.1

median 0 0 0 0 0 0 0 0 0 0

std. dev. 4.1 0.6 3.4 0.0 3.6 0.0 3.2 0.7 6.8 0.6

mode 0 0 0 0 0 0 0 0 0 0

valid

cases

1252 292 265 57 213 30 571 130 203 75

missing 112 6 12 2 12 0 72 4 16 0

White
48

mean 57.4 11.4 35.2 9.0 58.8 21.7 72.5 12.6 41.9 7.1

median 25 4 15 3.0 30 7.5 40 6 20 3

std. dev. 77.0 27.7 57.7 21.1 73.2 61.4 87.0 24.1 61.1 11.0

mode 1 20 2 5 0.0 3 1 100 2 20 2

mode 2 2.0

valid

cases

1295 294 270 58.0 220 30 594 132 211 74

missing 69 4 7 1.0 5 0 49 2 8 1

From which occupation did you earn your major income in the last 12 months?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 musician Percent 58.4% 56.8% 37.1% 42.4% 56.1% 41.7% 68.1% 62.8% 57.8% 62.2%

Number 894 243 113 36 139 15 505 123 137 69

 music teacher Percent 8.9% 11.7% 12.5% 11.8% 6.1% 16.7% 8.1% 11.7% 9.7% 9.9%

Number 136 50 38 10 15 6 60 23 23 11

 jazz teacher Percent 1.0% 0.0% 0.0% 0.0% 0.4% 0.0% 1.8% 0.0% 0.4% 0.0%

Number 15 0 0 0 1 0 13 0 1 0

 arts manager or administrator Percent 0.5% 0.9% 0.3% 1.2% 0.8% 2.8% 0.3% 1.0% 0.8% 0.0%

Number 7 4 11212220

 other music-related

occupation

Percent 6.5% 7.5% 5.9% 5.9% 4.4% 5.6% 7.4% 10.2% 6.3% 4.5%

Number 99 32 18 5 11 2 55 20 15 5

 non-music related occupation Percent 11.7% 11.2% 23.6% 15.3% 19.0% 22.2% 4.2% 6.6% 12.2% 12.6%

Number 179 48 72 13 47 8 31 13 29 14

 other Percent 12.9% 11.7% 20.0% 23.5% 12.9% 11.1% 10.0% 7.1% 12.7% 10.8%

Number 197 50 61 20 32 4 74 14 30 12

missing 5 1 20102100

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

From which occupation did you earn your major income in the last 12 months?

At present, what is your employment situation?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 1 I am employed full time in

the music business

Percent 43.3% 48.4% 31.5% 41.2% 43.6% 55.6% 47.8% 55.6% 43.9% 38.7%

Number 663 207 96 35 108 20 355 109 104 43

 2 I am employed full-time

NOT in the music business

Percent 10.1% 10.1% 20.3% 11.8% 15.7% 22.2% 4.2% 4.6% 9.7% 14.4%

Number 155 43 62 10 39 8 31 9 23 16

 I am employed part-time in

the music business

Percent 15.4% 14.3% 28.5% 17.7% 17.7% 19.4% 8.4% 9.7% 18.1% 18.0%

Number 236 61 87 15 44 7 62 19 43 20

 I am employed full-time as a

freelancer in the music

business

Percent 35.9% 22.7% 18.7% 15.3% 23.8% 2.8% 50.4% 30.6% 25.3% 20.7%

Number 550 97 57 13 59 1 374 60 60 23

 I am employed part-time as

a freelancer in the music

business

Percent 22.3% 28.0% 30.8% 25.9% 26.2% 25.0% 16.7% 28.6% 24.5% 29.7%

Number 341 120 94 22 65 9 124 56 58 33

 I am unemployed Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 1 I am employed full time in

the music business

Percent 43.3% 48.4% 31.5% 41.2% 43.6% 55.6% 47.8% 55.6% 43.9% 38.7%

Number 663 207 96 35 108 20 355 109 104 43

 2 I am employed full-time

NOT in the music business

Percent 10.1% 10.1% 20.3% 11.8% 15.7% 22.2% 4.2% 4.6% 9.7% 14.4%

Number 155 43 62 10 39 8 31 9 23 16

 I am employed part-time in

the music business

Percent 15.4% 14.3% 28.5% 17.7% 17.7% 19.4% 8.4% 9.7% 18.1% 18.0%

Number 236 61 87 15 44 7 62 19 43 20

 I am employed full-time as a

freelancer in the music

business

Percent 35.9% 22.7% 18.7% 15.3% 23.8% 2.8% 50.4% 30.6% 25.3% 20.7%

Number 550 97 57 13 59 1 374 60 60 23

I ld i P
49

What percentage of your income comes from your music?

Number 0000000000

 I am retired Percent 14.2% 9.4% 27.5% 20.0% 16.1% 5.6% 6.9% 5.6% 18.1% 9.0%

Number 218 40 84 17 40 2 51 11 43 10

 other (other) Percent 6.5% 7.1% 7.9% 3.5% 8.5% 8.3% 6.7% 8.2% 5.9% 5.4%

Number 28 109 24 3 21 3 50 16 14 6

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Approximately how many different musical jobs do you play a month?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 1-5 Percent 29.3% 49.5% 44.7% 48.6% 23.5% 58.8% 25.0% 48.2% 31.0% 49.5%

Number 414 197 117 35 53 20 178 91 66 51

 6-10 Percent 18.5% 17.8% 22.9% 18.1% 14.6% 20.6% 17.0% 16.4% 22.5% 19.4%

Number 262 71 60 13 33 7 121 31 48 20

 11-15 Percent 16.6% 9.8% 12.2% 11.1% 17.7% 17.7% 17.8% 9.0% 16.4% 7.8%

Number 234 39 32 8 40 6 127 17 35 8

 16+ Percent 31.7% 19.9% 19.1% 20.8% 41.6% 2.9% 34.4% 21.7% 27.7% 21.4%

Number 448 79 50 15 94 1 245 41 59 22

missing 56 12 3 1 6 0 42 9 5 2

total # of respondents who

answered this question

1414 398 262 72 226 34 713 189 213 103

Approximately how many different musical jobs do you play a month?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 none Percent 2.6% 2.8% 4.6% 2.8% 2.7% 2.9% 1.3% 2.1% 4.2% 3.9%

Number 36 11 12 2 6 1 9 4 9 4

 25% or less Percent 20.9% 20.4% 42.4% 27.8% 29.7% 35.3% 9.5% 14.3% 23.5% 21.4%

Number 296 81 111 20 67 12 68 27 50 22

 between 26% and 50% Percent 8.4% 6.3% 9.2% 9.7% 11.1% 5.9% 7.6% 5.3% 7.0% 5.8%

Number 118 25 24 7 25 2 54 10 15 6

 between 51% and 75% Percent 4.6% 4.0% 6.9% 2.8% 4.0% 2.9% 3.9% 4.2% 4.7% 4.9%

Number 65 16 18 2 9 1 28 8 10 5

 between 76% and 99% Percent 9.1% 6.5% 6.5% 5.6% 11.1% 0.0% 8.3% 6.9% 12.7% 8.7%

Number 128 26 17 4 25 0 59 13 27 9

 100% Percent 53.0% 58.5% 29.0% 50.0% 40.7% 52.9% 67.6% 65.1% 47.0% 54.4%

Number 750 233 76 36 92 18 482 123 100 56

missing 21 6 4 1 2 0 13 4 2 1

total # of respondents who

answered this question

1414 398 262 72 226 34 713 189 213 103
50

Approximately how many hours per week do you spend on your music or music-related activities

(including performing, looking for work, marketing, etc.)

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 0-10 hours per week Percent 15.6% 20.1% 30.5% 22.2% 23.0% 35.3% 8.0% 16.9% 15.0% 19.4%

Number 221 80 80 16 52 12 57 32 32 20

 11-20 hours per week Percent 15.2% 17.3% 22.5% 22.2% 15.5% 11.8% 10.8% 14.3% 20.7% 21.4%

Number 215 69 59 16 35 4 77 27 44 22

 21-30 hours per week Percent 15.3% 17.6% 15.3% 18.1% 15.9% 17.7% 13.3% 15.3% 21.1% 21.4%

Number 216 70 40 13 36 6 95 29 45 22

 31-40 hours per week Percent 12.7% 15.3% 8.0% 13.9% 14.2% 23.5% 13.7% 15.9% 13.6% 12.6%

Number 180 61 21 10 32 8 98 30 29 13

 over 40 hours per week Percent 38.2% 27.6% 22.1% 20.8% 29.7% 11.8% 50.2% 36.0% 26.8% 22.3%

Number 540 110 58 15 67 4 358 68 57 23

missing 4 2 4 0 28 3 6 3 0 0

total # of respondents who

answered this question

1414 398 262 72 226 34 713 189 213 103

Education, Training, and Preparation

Please indicate your highest level of formal education

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 elementary school, through

grade 8

Percent 0.3% 0.5% 0.0% 1.2% 0.0% 0.0% 0.5% 0.5% 0.0% 0.0%

Number 4 201004100

 some high school Percent 1.2% 0.7% 2.0% 1.2% 2.4% 2.8% 0.5% 0.5% 1.3% 0.0%

Number 19 3 6 1 6 1 4 1 3 0

 12th grade, but did not

graduate

Percent 0.9% 0.5% 1.0% 0.0% 1.2% 0.0% 0.8% 0.5% 0.4% 0.9%

Number 13 2 3 0 3 0 6 1 1 1

 12th grade, got GED Percent 0.6% 0.2% 0.7% 1.2% 0.4% 0.0% 0.7% 0.0% 0.4% 0.0%

Number 9 1 2 1 1 0 5 0 1 0

 12th grade, graduated from

high school

Percent 6.9% 3.7% 8.5% 3.5% 8.1% 5.6% 6.5% 3.6% 4.6% 3.6%

Number 105 16 26 3 20 2 48 7 11 4

 some college Percent 22.6% 11.5% 29.5% 9.4% 25.0% 16.7% 19.8% 10.7% 19.8% 12.6%

Number 346 49 90 8 62 6 147 21 47 14

 college degree Percent 36.3% 37.4% 27.9% 34.1% 33.1% 33.3% 39.0% 39.3% 42.2% 37.8%

Number 556 160 85 29 82 12 289 77 100 42

 graduate degree Percent 28.7% 43.2% 26.9% 49.4% 26.2% 41.7% 30.7% 43.4% 27.0% 38.7%

Number 439 185 82 42 65 15 228 85 64 43

 other Percent 2.5% 2.3% 3.3% 0.0% 3.6% 0.0% 1.4% 1.5% 3.8% 6.3%

Number 38 10 10 0 9 0 10 3 9 7

missing 3 0 1 0 0 0 1 0 1 0

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111
51

What is your highest formal degree?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 AA Percent 2.0% 0.9% 1.7% 1.4% 2.5% 0.0% 1.3% 0.0% 4.1% 2.2%

Number 21 3 3 1 4 07072

 BA Percent 20.5% 14.1% 14.6% 9.9% 20.6% 3.7% 20.3% 15.2% 27.2% 18.5%

Number 213 50 26 7 33 1 107 25 47 17

 BFA Percent 10.7% 9.9% 7.3% 9.9% 9.4% 14.8% 13.7% 9.1% 6.4% 9.8%

Number 111 35 13 7 15 4 72 15 11 9

 BS Percent 5.8% 4.5% 11.8% 7.0% 7.5% 3.7% 3.2% 4.2% 5.8% 3.3%

Number 60 16 21 5 12 1 17 7 10 3

 MA Percent 12.0% 14.1% 15.2% 14.1% 11.9% 18.5% 9.9% 13.3% 15.0% 14.1%

Number 124 50 27 10 19 5 52 22 26 13

 MFA Percent 9.3% 13.8% 11.2% 12.7% 6.3% 11.1% 9.9% 14.6% 8.7% 14.1%

Number 97 49 20 9 10 3 52 24 15 13

 MS Percent 2.7% 2.8% 4.5% 4.2% 4.4% 7.4% 1.9% 3.0% 1.7% 0.0%

Number 28 10 8 3 7 2 10 5 3 0

 EdD Percent 0.3% 0.3% 0.6% 1.4% 0.0% 0.0% 0.4% 0.0% 0.0% 0.0%

Number 3 1 1 1 0 02000

 PhD Percent 3.0% 3.1% 2.8% 2.8% 6.3% 0.0% 2.1% 3.6% 2.9% 3.3%

Number 31 11 5 2 10 0 11 6 5 3

 other Percent 33.3% 36.1% 30.3% 36.6% 31.3% 40.7% 36.6% 35.8% 28.3% 34.8%

Number 346 128 54 26 50 11 193 59 49 32

missing 4 2 0 0 0 04200

total # of respondents who

answered this question

1038 355 178 71 160 27 527 165 173 92

Did you receive technical or professional training in the arts?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 no Percent 21.9% 23.8% 23.9% 22.4% 30.2% 19.4% 18.9% 25.0% 20.3% 24.3%

Number 336 102 73 19 75 7 140 49 48 27

 conservatory or professional

school not granting a degree

Percent 25.7% 26.4% 25.9% 16.7% 24.3% 27.6% 25.8% 25.2% 26.5% 35.7%

Number 307 86 60 11 42 8 155 37 50 30

 certificate program in the arts Percent 11.5% 12.0% 10.8% 18.2% 14.5% 10.3% 11.0% 10.2% 11.1% 10.7%

Number 137 39 25 12 25 3 66 15 21 9

 private teachers Percent 78.9% 78.2% 77.6% 72.7% 79.2% 82.8% 79.2% 83.0% 78.8% 72.6%

Number 943 255 180 48 137 24 477 122 149 61

 other (please specify) Percent 15.1% 13.2% 17.2% 12.1% 20.2% 13.8% 13.1% 11.6% 14.3% 16.7%

Number 181 43 40 8 35 4 79 17 27 14

Did you receive technical or professional training in the arts?
52

Protection

Do you hold a copyright in some artistic work of your own creation?

If yes, how did you get this airplay?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes Percent 54.6% 23.6% 33.1% 17.7% 46.8% 16.7% 68.5% 30.6% 46.8% 18.0%

Number 836 101 101 15 116 6 508 60 111 20

 no Percent 45.0% 75.7% 66.2% 82.4% 52.4% 83.3% 31.1% 68.9% 53.2% 80.2%

Number 689 324 202 70 130 30 231 135 126 89

 don't know Percent 0.4% 0.7% 0.3% 0.0% 0.8% 0.0% 0.4% 0.5% 0.0% 1.8%

Number 6 3 1 0203102

missing 1 0 1 0000000

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Has your work ever been recorded?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes, by me Percent 59.5% 39.5% 54.4% 31.8% 54.0% 27.8% 65.6% 49.5% 52.7% 31.5%

Number 912 169 166 27 134 10 487 97 125 35

 yes, by a professional

recording company

Percent 74.6% 73.1% 64.9% 62.4% 68.6% 66.7% Data Missing 74.3% 74.8%

Number 1143 313 198 53 170 24 Data Missing 176 83

 other (please specify) Percent 9.0% 7.7% 8.2% 11.8% 9.7% 8.3% 80.7% 78.1% 7.2% 8.1%

Number 138 33 25 10 24 3 599 153 17 9

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Has your music received airplay?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes Percent 81.1% 72.0% 73.8% 64.7% 79.8% 69.4% 84.8% 75.0% 80.6% 73.0%

Number 1243 308 225 55 198 25 629 147 191 81

 no Percent 17.2% 24.3% 23.9% 34.1% 18.2% 27.8% 13.9% 20.4% 18.1% 22.5%

Number 264 104 73 29 45 10 103 40 43 25

missing 25 16 7 1 5 1 10 9 3 5

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Has your work ever been recorded?

Has your music received airplay?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 had help from a promotional

person

Percent 31.1% 24.4% 28.4% 18.2% 30.3% 8.0% 33.2% 28.6% 28.3% 25.9%

Number 387 75 64 10 60 2 209 42 54 21

 sent recordings out myself Percent 21.9% 9.1% 16.0% 3.6% 27.8% 8.0% 21.1% 10.2% 25.1% 11.1%

Number 272 28 36 2 55 2 133 15 48 9
53

If yes, how do you feel about people downloading this music without paying for your work?

Do you currently have a steady manager, agent or representative for your work?

 paid to get airplay Percent 2.8% 1.3% 2.2% 0.0% 3.0% 4.0% 2.5% 0.7% 4.2% 2.5%

Number 35 4 5 0 6 1 16 1 8 2

 knew some of the disc

jockeys

Percent 19.2% 7.1% 21.8% 9.1% 30.3% 4.0% 14.3% 6.8% 20.9% 7.4%

Number 239 22 49 5 60 1 90 10 40 6

 knew producer Percent 15.8% 9.1% 11.6% 7.3% 23.2% 20.0% 12.9% 10.2% 22.5% 4.9%

Number 196 28 26 4 46 5 81 15 43 4

 other Percent 55.3% 67.9% 60.0% 70.9% 46.5% 72.0% 58.7% 67.4% 47.6% 65.4%

Number 687 209 135 39 92 18 369 99 91 53

total # of respondents who

answered this question

1243 308 225 55 198 25 629 147 191 81

Have you played music that was broadcast over the Internet?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 I do not mind Percent 28.2% 31.8% 36.5% 26.7% 28.9% 60.0% 26.4% 30.0% 28.8% 32.1%

Number 170 28 23 4 26 3 98 12 23 9

 like the exposure Percent 36.9% 36.4% 34.9% 26.7% 37.8% 40.0% 35.9% 37.5% 42.5% 39.3%

Number 223 32 22 4 34 2 133 15 34 11

 object Percent 53.0% 46.6% 52.4% 40.0% 48.9% 0.0% 55.8% 50.0% 45.0% 53.6%

Number 320 41 33 6 44 0 207 20 36 15

 think I should be paid Percent 64.7% 50.0% 61.9% 40.0% 64.4% 60.0% 65.0% 50.0% 66.3% 53.6%

Number 391 44 39 6 58 3 241 20 53 15

 no opinion Percent 5.8% 9.1% 4.8% 13.3% 3.3% 0.0% 7.0% 15.0% 3.8% 0.0%

Number 35 8 3 2 3 0 26 6 3 0

total # of respondents who

answered this question

604 88 63 15 90 5 371 40 80 28

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes Percent 16.6% 12.9% 12.1% 11.8% 19.0% 13.9% 19.0% 15.8% 12.2% 8.1%

Number 254 55 37 10 47 5 141 31 29 9

 no Percent 83.3% 87.2% 87.9% 88.2% 81.1% 86.1% 80.7% 84.2% 87.8% 91.9%

1276 373 268 75 201 31 599 165 208 102

missing 2 0 0 0 0 0 2 0 0 0

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes Percent 39.4% 20.6% 20.7% 17.7% 36.3% 13.9% 50.0% 20.4% 33.8% 25.2%

Number 604 88 63 15 90 5 371 40 80 28

 no Percent 42.4% 59.1% 63.9% 70.6% 43.6% 69.4% 31.1% 50.0% 48.5% 63.1%

Number 649 253 195 60 108 25 231 98 115 70

 don't know Percent 18.2% 20.3% 15.4% 11.8% 20.2% 16.7% 18.9% 29.6% 17.7% 11.7%

Number 279 87 47 10 50 6 140 58 42 13

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111
54

Technology

Do you use electronic media in the creation of your music?

Did you use the Internet for your music?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes Percent 41.6% 21.7% 33.8% 17.7% 35.5% 8.3% 48.1% 28.1% 38.0% 18.0%

Number 638 93 103 15 88 3 357 55 90 20

 no Percent 56.9% 77.6% 64.3% 82.4% 64.1% 88.9% 50.5% 71.4% 59.9% 81.1%

Number 872 332 196 70 159 32 375 140 142 90

missing 22 3 6 0 1 1 10 1 5 1

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Do you use electronic media in the production of your music?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes Percent 47.7% 27.6% 40.0% 17.7% 40.7% 16.7% 55.4% 34.2% 40.9% 27.0%

Number 731 118 122 15 101 6 411 67 97 30

 no Percent 47.9% 68.5% 55.4% 77.7% 57.3% 72.2% 40.6% 62.8% 51.1% 70.3%

Number 733 293 169 66 142 26 301 123 121 78

 my music is not produced Percent 2.3% 1.9% 3.3% 2.4% 1.6% 5.6% 1.6% 1.0% 3.8% 1.8%

Number 35 8 10 2 4 2 12 2 9 2

missing 33 9 4 2 1 2 18 4 10 1

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Do you use electronic media in the production of your music?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes Percent 41.1% 26.9% 25.6% 14.1% 36.7% 19.4% 47.4% 31.1% 46.0% 31.5%

Number 630 115 78 12 91 7 352 61 109 35

 no Percent 58.8% 72.9% 74.4% 85.9% 62.5% 80.6% 52.6% 68.9% 54.0% 67.6%

Number 900 312 227 73 155 29 390 135 128 75

missing 2 1 0 0 2 00001

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

How do you use it?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 to communicate with people

in the industry

Percent 84.8% 84.4% 74.4% 75.0% 84.6% 85.7% 87.8% 83.6% 82.6% 88.6%

Number 534 97 58 9 77 6 309 51 90 31

 to compose music Percent 13.7% 7.0% 12.8% 8.3% 13.2% 0.0% 13.9% 4.9% 13.8% 11.4%

Number 86 8 10 1 12 0 49 3 15 4

 to copy music Percent 24.3% 16.5% 23.1% 33.3% 25.3% 14.3% 25.3% 14.8% 21.1% 14.3%

How do you use it?
55

Living, Working, and Making Art

For how many years have you lived in the county or parish of your current residence?

Number 153 19 18 4 23 1 89 9 23 5

 to disseminate music Percent 39.7% 27.0% 34.6% 16.7% 30.8% 14.3% 41.8% 32.8% 44.0% 22.9%

Number 250 31 27 2 28 1 147 20 48 8

 to listen to music Percent 49.1% 40.0% 56.4% 58.3% 52.8% 42.9% 45.5% 39.3% 52.3% 34.3%

Number 309 46 44 7 48 3 160 24 57 12

 to promote music Percent 64.6% 59.1% 56.4% 41.7% 56.0% 71.4% 69.0% 55.7% 63.3% 68.6%

Number 407 68 44 5 51 5 243 34 69 24

 to do research Percent 79.1% 78.3% 75.6% 91.7% 68.1% 71.4% 82.4% 77.1% 79.8% 77.1%

Number 498 90 59 11 62 5 290 47 87 27

 to sell music Percent 43.8% 22.6% 33.3% 0.0% 36.3% 14.3% 47.7% 23.0% 45.0% 31.4%

Number 276 26 26 0 33 1 168 14 49 11

total # of respondents who

answered this question

630 115 78 12 91 7 352 61 109 35

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 under 1 year Percent 1.6% 4.0% 0.3% 3.5% 2.0% 2.8% 1.9% 3.1% 1.7% 6.3%

Number 24 17 1 3 5 1 14 6 4 7

 2-3 years Percent 5.9% 11.5% 3.6% 9.4% 4.8% 19.4% 5.8% 11.7% 10.1% 9.9%

Number 90 49 11 8 12 7 43 23 24 11

 4-5 years Percent 5.0% 5.8% 3.0% 2.4% 4.8% 5.6% 6.3% 6.6% 3.4% 7.2%

Number 76 25 9 2 12 2 47 13 8 8

 6-10 years Percent 14.5% 15.9% 8.5% 15.3% 12.1% 13.9% 18.3% 15.8% 12.7% 17.1%

Number 222 68 26 13 30 5 136 31 30 19

 more than 10 years Percent 73.1% 62.9% 84.6% 69.4% 76.2% 58.3% 67.7% 62.8% 72.2% 59.5%

Number 1120 269 258 59 189 21 502 123 171 66

mean 4.5 4.2 4.7 4.4 4.6 4.1 4.4 4.2 4.4 4.1

median 5 5 5 5 5 5 5 5 5 5

missing 0 0 0 0 0 0 0 0 0 0

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Did you receive any music-related training in this city or region?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes Percent 74.9% 66.1% 80.3% 68.2% 65.3% 33.3% 78.2% 76.0% 67.5% 57.7%

Number 1147 283 245 58 162 12 580 149 160 64

 no Percent 25.1% 33.9% 19.7% 31.8% 34.7% 66.7% 21.8% 24.0% 32.5% 42.3%

Number 385 145 60 27 86 24 162 47 77 47

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Did you receive any music-related training in this city or region?
56

Approximately how many times during the last 12 months did you work or perform away from home?

Excluding operational costs of your workspace, please list approximate annual costs for the following

music-related work expenses:

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 zero Percent 25.1% 35.5% 37.1% 42.4% 23.0% 16.7% 19.3% 35.2% 30.0% 36.9%

Number 384 152 113 36 57 6 143 69 71 41

 1-5 times Percent 21.4% 25.2% 25.6% 22.4% 24.6% 41.7% 17.7% 22.5% 24.5% 27.0%

Number 328 108 78 19 61 15 131 44 58 30

 6-15 times Percent 18.5% 12.9% 17.1% 11.8% 20.6% 16.7% 17.9% 11.2% 19.8% 15.3%

Number 283 55 52 10 51 6 133 22 47 17

 16-30 times Percent 9.3% 9.6% 8.2% 7.1% 8.5% 11.1% 10.9% 10.2% 6.3% 9.9%

Number 142 41 25 6 21 4 81 20 15 11

 over 30 times Percent 24.7% 15.9% 10.5% 16.5% 22.2% 13.9% 33.3% 19.9% 19.0% 9.0%

Number 379 68 32 14 55 5 247 39 45 10

missing 16 4 5 0307212

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 music-related

supplies/services (sheet

music, etc.)

 a $0- $500 Percent 62.8% 70.1% 71.5% 82.4% 71.8% 77.8% 54.5% 63.8% 68.4% 69.4%

Number 962 300 218 70 178 28 404 125 162 77

 b $501- $2500 Percent 23.4% 18.9% 18.0% 11.8% 18.2% 19.4% 26.8% 21.4% 25.3% 19.8%

Number 359 81 55 10 45 7 199 42 60 22

 c $2501- $5000 Percent 4.3% 3.0% 3.3% 2.4% 2.8% 0.0% 5.8% 4.1% 2.5% 2.7%

Number 66 13 10 2 7 0 43 8 6 3

 d $5001- $7500 Percent 1.2% 2.1% 0.7% 1.2% 0.4% 0.0% 1.9% 3.1% 0.4% 1.8%

Number 18 9 2 1 1 0 14 6 1 2

 e over $7500 Percent 1.5% 0.9% 1.0% 0.0% 1.6% 0.0% 2.0% 0.5% 0.4% 2.7%

Number 23 4 3 0 4 0 15 1 1 3

 equipment

 a $0- $500 Percent 36.0% 46.0% 48.9% 56.5% 46.8% 72.2% 26.3% 38.3% 38.4% 43.2%

Number 551 197 149 48 116 26 195 75 91 48

 b $501- $2500 Percent 32.5% 27.1% 27.5% 24.7% 31.5% 16.7% 35.2% 32.1% 31.7% 23.4%

Number 498 116 84 21 78 6 261 63 75 26

 c $2501- $5000 Percent 13.8% 8.6% 9.8% 4.7% 8.5% 5.6% 16.3% 8.2% 16.9% 13.5%

Number 212 37 30 4 21 2 121 16 40 15

 d $5001- $7500 Percent 4.6% 4.4% 2.6% 4.7% 3.2% 0.0% 6.2% 5.1% 3.4% 4.5%

Number 70 19 8 4 8 0 46 10 8 5

 e over $7500 Percent 6.5% 7.9% 5.6% 7.1% 4.8% 2.8% 7.7% 8.2% 5.5% 9.9%

Number 99 34 17 6 12 1 57 16 13 11

 capital improvements

 a $0- $500 Percent 71.0% 82.0% 78.7% 87.1% 77.4% 94.4% 65.0% 77.6% 73.0% 82.0%
57

Number 1087 351 240 74 192 34 482 152 173 91

 b $501- $2500 Percent 13.4% 8.2% 9.8% 4.7% 7.7% 2.8% 16.6% 10.7% 13.9% 8.1%

Number 205 35 30 4 19 1 123 21 33 9

 c $2501- $5000 Percent 4.3% 0.9% 3.3% 0.0% 6.9% 0.0% 4.3% 2.0% 3.0% 0.0%

Number 66 4 10 0 17 0 32 4 7 0

 d $5001- $7500 Percent 1.9% 0.5% 0.7% 0.0% 2.0% 0.0% 2.4% 0.5% 1.7% 0.9%

Number 29 2 2 0 5 0 18 1 4 1

 e over $7500 Percent 2.5% 3.0% 1.6% 4.7% 1.2% 0.0% 2.8% 2.0% 3.8% 4.5%

Number 38 13 5 4 3 0 21 4 9 5

 training/maintaining music

 a $0- $500 Percent 0 54.0% 36.0% 8.0% 23.0% 4.0%104.0

%

28.0% 34.0% 14.0%

0000000000

 b $501- $2500 Percent 40.0% 12.0% 5.0% 1.0% 3.0% 0.0% 27.0% 8.0% 5.0% 3.0%

Number 76.44 78.5 79.02 87.06 83.87 86.11 71.83 72.96 79.75 79.28

 c $2501- $5000 Percent 9.0% 2.0% 0.0% 0.0% 1.0% 0.0% 8.0% 2.0% 0.0% 0.0%

Number 12.86 12.62 11.8 9.41 9.27 11.11 14.02 14.29 14.35 12.61

 d $5001- $7500 Percent 3.0% 1.0% 1.0% 0.0% 0.0% 0.0% 2.0% 0.0% 0.0% 1.0%

Number 2.61 2.8 1.64 1.18 1.21 0 3.64 4.08 2.11 2.7

 e over $7500 Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0.59 0.47 0 0 0.4 0 1.08 1.02 0 0

 publicity/marketing

 a $0- $500 Percent 72.7% 83.2% 84.6% 85.9% 76.6% 94.4% 65.0% 78.1% 77.2% 86.5%

Number 1113 356 258 73 190 34 482 153 183 96

 b $501- $2500 Percent 15.1% 8.9% 8.5% 7.1% 12.9% 2.8% 18.7% 11.2% 14.8% 8.1%

Number 232 38 26 6 32 1 139 22 35 9

 c $2501- $5000 Percent 3.7% 1.6% 0.7% 2.4% 2.8% 0.0% 5.0% 2.6% 4.6% 0.0%

Number 57 7 2 2 7 0 37 5 11 0

 d $5001- $7500 Percent 1.4% 1.2% 1.3% 0.0% 1.6% 0.0% 1.8% 1.5% 0.4% 1.8%

Number 22 5 4 0 4 0 13 3 1 2

 e over $7500 Percent 1.0% 0.5% 0.3% 1.2% 0.8% 0.0% 1.5% 0.5% 0.4% 0.0%

Number 15 2 1 1 2 0 11 1 1 0

 travel/cartage

 a $0- $500 Percent 49.9% 55.8% 62.3% 57.7% 60.5% 66.7% 40.8% 50.5% 51.1% 60.4%

Number 764 239 190 49 150 24 303 99 121 67

 b $501- $2500 Percent 26.4% 26.4% 22.0% 28.2% 21.0% 25.0% 29.8% 27.6% 27.0% 23.4%

Number 404 113 67 24 52 9 221 54 64 26

 c $2501- $5000 Percent 9.9% 8.4% 5.9% 7.1% 8.9% 2.8% 11.2% 10.2% 11.8% 8.1%

Number 151 36 18 6 22 1 83 20 28 9

 d $5001- $7500 Percent 2.0% 2.1% 0.3% 3.5% 1.2% 0.0% 2.4% 2.0% 3.4% 1.8%

Number 30 9 1 3 3 0 18 4 8 2

 e over $7500 Percent 4.2% 2.1% 1.3% 2.4% 4.0% 0.0% 6.1% 3.1% 2.5% 0.9%

Number 65 9 4 2 10 0 45 6 6 1

 recording costs

 a $0- $500 Percent 69.3% 84.6% 81.3% 92.9% 75.0% 94.4% 59.7% 79.6% 77.6% 83.8%

Number 1061 362 248 79 186 34 443 156 184 93

 b $501- $2500 Percent 14.0% 6.1% 8.5% 3.5% 13.7% 0.0% 17.4% 8.2% 10.6% 6.3%

Number 214 26 26 3 34 0 129 16 25 7
58

 c $2501- $5000 Percent 4.1% 2.1% 3.0% 0.0% 4.0% 2.8% 4.9% 2.6% 3.4% 2.7%

Number 63 9 9 0 10 1 36 5 8 3

 d $5001- $7500 Percent 2.4% 0.7% 1.3% 0.0% 0.4% 0.0% 3.6% 0.5% 1.7% 1.8%

Number 36 3 4 0 1 0 27 1 4 2

 e over $7500 Percent 4.5% 1.9% 1.6% 1.2% 3.2% 0.0% 6.3% 2.6% 3.8% 1.8%

Number 69 8 5 1 8 0 47 5 9 2

 management costs

 a $0- $500 Percent 86.0% 89.7% 94.4% 96.5% 85.5% 94.4% 81.0% 84.2% 91.6% 92.8%

Number 1318 384 288 82 212 34 601 165 217 103

 b $501- $2500 Percent 3.1% 2.1% 0.3% 0.0% 4.4% 2.8% 3.5% 3.1% 3.8% 1.8%

Number 47 9 1 0 11 1 26 6 9 2

 c $2501- $5000 Percent 1.7% 1.4% 0.7% 0.0% 2.8% 0.0% 2.0% 2.6% 0.8% 0.9%

Number 26 6 2 0 7 0 15 5 2 1

 d $5001- $7500 Percent 0.8% 0.9% 0.3% 1.2% 0.8% 0.0% 1.1% 1.5% 0.4% 0.0%

Number 12 4 1 1 2 0 8 3 1 0

 e over $7500 Percent 2.2% 0.7% 0.0% 0.0% 2.0% 0.0% 3.6% 1.0% 0.8% 0.9%

Number 34 3 0 0 5 0 27 2 2 1

 musical instrument

insurance

 a $0- $500 Percent 84.5% 83.4% 85.3% 88.2% 88.7% 88.9% 81.5% 78.6% 88.6% 86.5%

Number 1295 357 260 75 220 32 605 154 210 96

 b $501- $2500 Percent 8.3% 8.6% 7.5% 7.1% 6.1% 2.8% 9.7% 12.2% 7.2% 5.4%

Number 127 37 23 6 15 1 72 24 17 6

 c $2501- $5000 Percent 0.9% 2.1% 0.7% 2.4% 1.2% 0.0% 0.8% 2.0% 0.8% 2.7%

Number 13 9 2 2 3 0 6 4 2 3

 d $5001- $7500 Percent 0.1% 0.2% 0.3% 0.0% 0.0% 0.0% 0.0% 0.5% 0.0% 0.0%

Number 1 1 1 0 0 0 0 1 0 0

 e over $7500 Percent 0.1% 0.2% 0.3% 1.2% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 1 1 1 1 0 0 0 0 0 0

 other

 a $0- $500 Percent 13.1% 14.0% 12.5% 14.1% 14.5% 11.1% 12.0% 14.8% 15.6% 13.5%

Number 200 60 38 12 36 4 89 29 37 15

 b $501- $2500 Percent 7.2% 8.4% 3.9% 7.1% 7.7% 2.8% 8.4% 11.2% 7.2% 6.3%

Number 110 36 12 6 19 1 62 22 17 7

 c $2501- $5000 Percent 1.2% 0.7% 1.0% 0.0% 0.8% 0.0% 1.4% 1.5% 1.7% 0.0%

Number 19 3 3 0 2 0 10 3 4 0

 d $5001- $7500 Percent 0.3% 0.0% 0.0% 0.0% 0.0% 0.0% 0.5% 0.0% 0.0% 0.0%

Number 4 0 0 0 0 0 4 0 0 0

 e over $7500 Percent 0.5% 0.2% 0.0% 0.0% 0.0% 0.0% 0.9% 0.0% 0.4% 0.9%

Number 8 1 0 0 0 0 7 0 1 1

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111
59

Health, Pension and Welfare

Where do you go to obtain routine health care?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 private physician Percent 54.4% 55.4%60.0%71.8%42.3%27.8%63.9%62.2%30.0%39.6%

Number 833 237 183 61 105 10 474 122 71 44

 HMO (health maintenance

organization) or PPO

Percent 44.7% 48.1%40.3%37.7%48.4%75.0%37.7%37.2%67.9%66.7%

Number 684 206 123 32 120 27 280 73 161 74

 hospital outpatient

department

Percent 11.6% 8.2%16.7%16.5%19.4%13.9% 5.0% 5.1%17.7% 5.4%

Number 178 35 51 14 48 5 37 10 42 6

 emergency room Percent 6.4% 4.7% 8.5% 8.2%12.5% 5.6% 3.2% 3.6% 7.2% 3.6%

Number 98 20 26 7 31 2 24 7 17 4

 I do not obtain routine health

care

Percent 6.9% 3.7% 7.2% 0.0% 7.7% 2.8% 6.9% 4.6% 5.5% 5.4%

Number 105 16 22 0 19 1 51 9 13 6

 arts-related medical facility

(please specify)

Percent 3.3% 2.6% 1.3% 2.4% 9.7% 8.3% 2.4% 1.5% 2.1% 2.7%

Number 51 11 4 2 24 3 18 3 5 3

 other Percent 7.5% 7.5% 9.2% 8.2% 9.7% 5.6% 6.2% 8.2% 7.2% 6.3%

Number 115 32 28 7 24 2 46 16 17 7

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Have occupational hazards in your music-related work caused you any injuries?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes Percent 31.9% 33.6% 25.9% 31.8% 26.6% 19.4% 33.3% 36.2% 40.9% 35.1%

Number 489 144 79 27 66 7 247 71 97 39

 no Percent 67.6% 65.7% 73.8% 68.2% 73.0% 80.6% 66.2% 62.2% 58.7% 64.9%

Number 1036 281 225 58 181 29 491 122 139 72

missing 7 3 1 0105310

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Do you have health or medical coverage?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes Percent 89.0% 92.8% 92.1% 97.7% 81.9% 91.7% 89.5% 90.8% 91.1% 92.8%

Number 1364 397 281 83 203 33 664 178 216 103

 no Percent 10.8% 7.2% 7.5% 2.4% 18.2% 8.3% 10.2% 9.2% 8.9% 7.2%

Number 165 31 23 2 45 3 76 18 21 8

missing 3 0 1 0 0 02000

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Have occupational hazards in your music-related work caused you any injuries?

Do you have health or medical coverage?
60

If yes, which type do you have?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 HMO Percent 43.0% 40.8% 27.8% 31.3% 49.3% 72.7% 40.8% 30.9% 63.4% 55.3%

Number 586 162 78 26 100 24 271 55 137 57

 PPO Percent 18.2% 25.2% 24.2% 24.1% 21.2% 18.2% 14.0% 25.3% 20.4% 28.2%

Number 248 100 68 20 43 6 93 45 44 29

 personal policy through

private insurance company

Percent 19.4% 16.4% 22.8% 24.1% 20.7% 9.1% 19.9% 18.5% 12.0% 8.7%

Number 264 65 64 20 42 3 132 33 26 9

 disability coverage for loss

of income

Percent 9.4% 10.3% 12.8% 9.6% 8.4% 12.1% 8.0% 11.8% 10.2% 7.8%

Number 128 41 36 8 17 4 53 21 22 8

 group insurance policy

through arts/arts service

organization (specify

organization)

Percent 10.9% 12.1% 8.5% 6.0% 4.9% 21.2% 15.8% 17.4% 4.6% 4.9%

Number 149 48 24 5 10 7 105 31 10 5

 other group insurance policy

(specify organization)

Percent 13.2% 10.6% 22.4% 15.7% 10.8% 9.1% 10.5% 11.8% 11.6% 4.9%

Number 180 42 63 13 22 3 70 21 25 5

 other Percent 14.7% 12.3% 19.6% 16.9% 10.8% 0.0% 15.7% 12.4% 9.3% 12.6%

Number 201 49 55 14 22 0 104 22 20 13

total # of respondents who

answered this question

1364 397 281 83 203 33 664 178 216 103

How was this health coverage obtained?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 self Percent 37.1% 29.7% 30.6% 21.7% 41.4% 33.3% 37.2% 29.8% 41.2% 35.0%

Number 506 118 86 18 84 11 247 53 89 36

 mate Percent 13.6% 13.4% 11.4% 16.9% 11.8% 15.2% 13.3% 10.7% 19.0% 14.6%

Number 185 53 32 14 24 5 88 19 41 15

 employer Percent 35.5% 44.3% 52.3% 54.2% 44.3% 54.6% 25.5% 38.2% 36.1% 43.7%

Number 484 176 147 45 90 18 169 68 78 45

 my musicians' union Percent 18.0% 13.6% 9.6% 1.2% 3.9% 3.0% 28.9% 27.0% 8.8% 3.9%

Number 246 54 27 1 8 1 192 48 19 4

 mate's union or employer Percent 10.3% 11.6% 7.8% 12.1% 9.4% 12.1% 11.3% 12.4% 11.6% 9.7%

Number 141 46 22 10 19 4 75 22 25 10

 private company Percent 6.4% 3.8% 6.4% 6.0% 5.4% 9.1% 6.9% 2.8% 5.6% 1.9%

Number 87 15 18 5 11 3 46 5 12 2

total # of respondents who

answered this question

1364 397 281 83 203 33 664 178 216 103

How was this health coverage obtained?
61

Who pays for this coverage?

What percentage do they pay?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 self Percent 50.9% 44.6% 45.9% 44.6% 59.6% 42.4% 50.8% 45.5% 49.5% 43.7%

Number 694 177 129 37 121 14 337 81 107 45

 mate Percent 9.8% 7.1% 9.3% 10.8% 13.8% 6.1% 7.7% 5.1% 13.4% 7.8%

Number 134 28 26 9 28 2 51 9 29 8

 employer Percent 29.9% 35.5% 44.1% 42.2% 36.5% 48.5% 22.3% 30.3% 28.7% 35.0%

Number 408 141 124 35 74 16 148 54 62 36

 employer under contract Percent 5.4% 4.5% 3.6% 4.8% 3.9% 0.0% 7.5% 6.7% 2.3% 1.9%

Number 73 18 10 4 8 0 50 12 5 2

 my musicians' union (specify

union)

Percent 7.0% 4.5% 2.1% 1.2% 3.5% 0.0% 11.6% 9.0% 2.8% 1.0%

Number 96 18 6 1 7 0 77 16 6 1

 mate's union or employer Percent 8.9% 10.8% 8.5% 13.3% 7.9% 9.1% 9.3% 9.6% 8.8% 11.7%

Number 121 43 24 11 16 3 62 17 19 12

 private company Percent 2.6% 1.5% 1.8% 2.4% 7.4% 0.0% 1.7% 1.7% 1.9% 1.0%

Number 35 6 5 2 15 0 11 3 4 1

 arts/arts service organization

(specify organization)

Percent 1.5% 1.0% 0.4% 2.4% 3.0% 0.0% 2.0% 1.1% 0.0% 0.0%

Number 20 4 1 2 6 0 13 2 0 0

 other Percent 8.5% 7.8% 8.5% 9.6% 12.3% 3.0% 8.3% 8.4% 5.6% 6.8%

Number 116 31 24 8 25 1 55 15 12 7

total # of respondents who

answered this question

1364 397 281 83 203 33 664 178 216 103

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 1 self

mean 62.6 60.0 51.6 50.5 60.9 70.9 65.0 54.7 70.2 74.0

median 80.0 50.0 30.0 40.0 50.0 100.0 100.0 50.0 100.0 100.0

std. dev. 39.1 40.6 40.9 41.1 37.2 41.9 38.4 40.4 38.4 36.9

mode 100.0 100.0 100.0 100.0 100.0 100.0 100.0 100.0 100.0 100.0

valid

cases

694.0 177.0 129.0 37.0 121.0 14.0 337.0 81.0 107.0 45.0

missing 670.0 220.0 152.0 46.0 82.0 19.0 327.0 97.0 109.0 58.0

 2 mate

mean 50.6 35.8 41.6 29.3 52.9 50.0 56.5 21.3 46.4 55.6

median 50.0 20.0 20.0 10.0 50.0 50.0 50.0 20.0 50.0 50.0

std. dev. 37.7 33.1 41.0 40.6 37.6 0.0 38.9 17.5 31.8 34.0

mode 1 100.0 20.0 100.0 2.0 50.0 50.0 100.0 20.0 50.0 20.0

mode 2 -- -- -- 5.0 100.0 -- -- -- -- 50.0

mode 3 -- -- -- 20.0 -- -- -- -- -- 100.0

mode 4 -- -- -- 100.0 -- -- -- -- -- --

valid

cases

134.0 28.0 26.0 9.0 28.0 2.0 51.0 9.0 29.0 8.0

missing 1230.0 369.0 255.0 74.0 175.0 31.0 613.0 169.0 187.0 95.0

 3 employer
62

mean 82.6 88.5 85.7 80.8 74.2 94.3 80.4 88.6 91.8 93.2

median 100.0 100.0 99.5 100.0 82.5 100.0 100.0 100.0 100.0 100.0

std. dev. 26.1 21.5 22.7 28.3 29.4 13.1 28.1 21.1 19.4 14.8

mode 100.0 100.0 100.0 100.0 100.0 100.0 100.0 100.0 100.0 100.0

valid

cases

408.0 141.0 124.0 35.0 74.0 16.0 148.0 54.0 62.0 36.0

missing 956.0 256.0 157.0 48.0 129.0 17.0 516.0 124.0 154.0 67.0

 4 employer under contract

mean 62.9 74.7 60.3 73.5 28.8 -- 66.1 70.8 90.0 100.0

median 80.0 97.5 80.0 96.0 2.0 -- 80.0 86.5 100.0 100.0

std. dev. 38.7 35.5 42.7 47.7 38.6 -- 36.5 34.6 22.4 0.0

mode 100.0 100.0 100.0 -- 2.0 -- 100.0 100.0 100.0 100.0

valid

cases

73.0 18.0 10.0 4.0 8.0 -- 50.0 12.0 5.0 2.0

missing 1291.0 379.0 271.0 79.0 195.0 33.0 614.0 166.0 211.0 101.0

 5 my musicians' union (specify

union)

mean 61.7 81.9 24.0 2.0 30.0 -- 65.4 85.8 89.2 100.0

median 80.0 92.5 15.0 2.0 2.0 -- 80.0 92.5 95.0 100.0

std. dev. 36.6 30.2 26.7 -- 47.8 -- 34.0 24.0 13.6 --

mode 100.0 100.0 2.0 2.0 2.0 -- 80.0 100.0 100.0 100.0

valid

cases

96.0 18.0 6.0 1.0 7.0 -- 77.0 16.0 6.0 1.0

missing 1268.0 379.0 275.0 82.0 196.0 33.0 587.0 162.0 210.0 102.0

 6 mate's union or employer

mean 75.4 88.8 84.7 86.1 54.9 100.0 73.4 86.6 87.4 91.7

median 90.0 100.0 100.0 100.0 65.0 100.0 90.0 100.0 100.0 100.0

std. dev. 32.6 22.4 23.6 29.0 40.5 0.0 33.8 25.9 21.8 10.9

mode 100.0 100.0 100.0 100.0 2.0 100.0 100.0 100.0 100.0 100.0

valid

cases

121.0 43.0 24.0 11.0 16.0 3.0 62.0 17.0 19.0 12.0

missing 1243.0 354.0 257.0 72.0 187.0 30.0 602.0 161.0 197.0 91.0

 7 private company

mean 48.5 45.7 64.0 31.0 48.7 -- 29.9 37.3 79.8 100.0

median 50.0 40.0 98.0 31.0 40.0 -- 2.0 20.0 85.0 100.0

std. dev. 42.5 43.8 48.8 41.0 43.3 -- 39.0 46.5 21.3 --

mode 2.0 2.0 100.0 -- 2.0 -- 2.0 -- -- 100.0

valid

cases

35.0 6.0 5.0 2.0 15.0 -- 11.0 3.0 4.0 1.0

missing 1329.0 391.0 276.0 81.0 188.0 33.0 653.0 175.0 212.0 102.0

 8 arts/arts service organization

(specify organization)

mean 31.1 48.5 2.0 46.0 18.3 -- 39.2 51.0 -- --

median 2.0 46.0 2.0 46.0 2.0 -- 2.0 51.0 -- --

std. dev. 44.4 53.8 -- 62.2 40.0 -- 47.2 69.3 -- --

mode 2.0 2.0 2.0 -- 2.0 -- 2.0 -- -- --

valid

cases

20.0 4.0 1.0 2.0 6.0 -- 13.0 2.0 -- --

missing 1344.0 393.0 280.0 81.0 197.0 33.0 651.0 176.0 216.0 103.0

 9 other

mean 69.2 73.6 63.8 71.5 56.5 1.0 72.1 75.1 93.3 83.0

median 92.5 100.0 90.0 95.0 75.0 1.0 100.0 85.0 100.0 100.0

std. dev. 40.0 38.3 43.1 40.0 44.7 -- 38.5 36.4 8.9 36.9
63

mode 100.0 100.0 100.0 100.0 100.0 1.0 100.0 100.0 100.0 100.0

valid

cases

116.0 31.0 24.0 8.0 25.0 1.0 55.0 15.0 12.0 7.0

missing 1248.0 366.0 257.0 75.0 178.0 32.0 609.0 163.0 204.0 96.0

Do you have life insurance?

How was this insurance obtained?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 yes Percent 63.1% 59.6% 80.3% 81.2% 69.4% 52.8% 57.4% 55.6% 52.3% 52.3%

Number 967 255 245 69 172 19 426 109 124 58

 No Percent 35.8% 39.5% 19.0% 18.8% 30.2% 47.2% 41.1% 43.9% 46.4% 45.1%

Number 548 169 58 16 75 17 305 86 110 50

Missing 17 4 2 0 1 0 11 1 3 3

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 self Percent 68.5% 61.2% 54.3% 55.1% 68.6% 63.2% 77.7% 67.0% 64.5% 56.9%

Number 662 156 133 38 118 12 331 73 80 33

 Mate Percent 7.6% 6.7% 6.1% 5.8% 10.5% 0.0% 5.9% 8.3% 12.1% 6.9%

Number 73 17 15 4 18 0 25 9 15 4

 Employer Percent 21.5% 30.2% 38.4% 36.2% 22.1% 31.6% 10.8% 28.4% 24.2% 25.9%

Number 208 77 94 25 38 6 46 31 30 15

 my musicians' union Percent 17.2% 15.7% 34.7% 20.3% 9.9% 10.5% 10.1% 11.9% 16.9% 19.0%

Number 166 40 85 14 17 2 43 13 21 11

 mate's union or employer Percent 2.4% 2.4% 3.3% 0.0% 3.5% 0.0% 1.4% 3.7% 2.4% 3.5%

Number 23 6 8 0 6 06432

 private company Percent 15.5% 12.6% 17.1% 20.3% 14.5% 15.8% 15.0% 10.1% 15.3% 6.9%

Number 150 32 42 14 25 3 64 11 19 4

total # of respondents who

answered this question

967 255 245 69 172 19 426 109 124 58

Who pays for this coverage?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 self Percent 80.4% 71.4% 71.8% 75.4% 81.4% 79.0% 85.2% 75.2% 79.0% 56.9%

Number 777 182 176 52 140 15 363 82 98 33

 Mate Percent 10.0% 11.0% 10.2% 7.3% 12.8% 5.3% 7.5% 12.8% 14.5% 13.8%

Number 97 28 25 5 22 1 32 14 18 8

 Employer Percent 19.1% 29.4% 33.1% 34.8% 19.8% 21.1% 10.1% 30.3% 21.8% 24.1%

Number 185 75 81 24 34 4 43 33 27 14

 my musicians' union Percent 13.0% 11.4% 27.4% 15.9% 8.7% 5.3% 7.0% 7.3% 11.3% 15.5%

Number 126 29 67 11 15 1 30 8 14 9

 Mate's union or employer Percent 1.1% 1.2% 2.0% 0.0% 1.2% 0.0% 0.5% 1.8% 1.6% 1.7%

Number 11 3 5 0 2 0 2 2 2 1
64

 private company Percent 1.1% 0.8% 1.6% 0.0% 0.6% 0.0% 0.7% 0.9% 2.4% 1.7%

Number 11 2 4 0 1 0 3 1 3 1

 arts/arts service organization Percent 0.4% 0.4% 1.2% 0.0% 0.0% 0.0% 0.0% 0.0% 0.8% 1.7%

Number 4 1 3 0 0 0 0 0 1 1

 Other Percent 2.8% 1.2% 2.0% 1.5% 2.3% 0.0% 3.3% 0.9% 3.2% 1.7%

Number 27 3 5 1 4 0 14 1 4 1

total # of respondents who

answered this question

967 255 245 69 172 19 426 109 124 58

If yes, how was the retirement plan obtained?

Who pays for this retirement plan?

Do you have at least one retirement plan?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 Yes Percent 77.3% 79.2% 76.1% 74.1% 77.8% 72.2% 76.0% 81.1% 82.3% 82.0%

Number 1184 339 232 63 193 26 564 159 195 91

 No Percent 21.8% 19.9% 23.0% 25.9% 22.2% 25.0% 22.6% 17.9% 17.3% 17.1%

Number 334 85 70 22 55 9 168 35 41 19

Missing 14 4 3 0 0 1 10 2 1 1

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 Self Percent 52.6% 50.4% 41.8% 47.6% 48.2% 42.3% 59.8% 52.2% 49.2% 51.7%

Number 623 171 97 30 93 11 337 83 96 47

 Employer Percent 36.7% 47.8% 61.6% 60.3% 44.0% 50.0% 22.0% 41.5% 42.6% 49.5%

Number 435 162 143 38 85 13 124 66 83 45

 my musicians' union Percent 36.3% 32.7% 18.1% 22.2% 37.8% 34.6% 43.3% 38.4% 36.4% 29.7%

Number 430 111 42 14 73 9 244 61 71 27

 arts/arts service

organization (specify

organization)

Percent 2.4% 0.6% 1.3% 0.0% 2.1% 0.0% 2.7% 1.3% 3.1% 0.0%

Number 28 2 3 0 4 0 15 2 6 0

 Other Percent 8.5% 8.0% 10.3% 6.4% 4.2% 3.9% 8.2% 9.4% 11.3% 7.7%

Number 100 27 24 4 8 1 46 15 22 7

total # of respondents who

answered this question

1184 339 232 63 193 26 564 159 195 91

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 Self Percent 72.1% 69.0% 69.4% 68.3% 75.7% 73.1% 72.2% 69.8% 71.8% 67.0%

Number 854 234 161 43 146 19 407 111 140 61

 Mate Percent 5.4% 7.1% 6.5% 1.6% 2.6% 0.0% 4.3% 8.2% 10.3% 11.0%

Number 64 24 15 1 5 0 24 13 20 10

 Employer Percent 44.2% 50.7% 57.3% 65.1% 46.1% 46.2% 36.9% 47.2% 47.7% 48.4%

Number 523 172 133 41 89 12 208 75 93 44

 my musicians' union Percent 22.6% 20.1% 11.6% 15.9% 27.5% 23.1% 25.9% 22.0% 21.5% 18.7%

N b
65

Number 268 68 27 10 53 6 146 35 42 17

 arts service organization

(specify organization)

Percent 1.0% 0.3% 0.9% 0.0% 0.0% 3.9% 1.8% 0.0% 0.0% 0.0%

Number 12 1 2 0 0 1 10 0 0 0

 Other Percent 4.0% 2.4% 5.6% 1.6% 3.6% 3.9% 3.4% 3.8% 4.1% 0.0%

Number 47 8 13 1 7 1 19 6 8 0

total # of respondents who

answered this question

1184 339 232 63 193 26 564 159 195 91

Critical Review and Satisfaction

Through what venue did your first professional recognition occur?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 award or honor Percent 3.1% 6.1% 3.6% 5.9% 4.0% 11.1% 2.4% 6.1% 3.4% 4.5%

Number 47 26 11 5 10 4 18 12 8 5

 feature article Percent 2.8% 1.6% 2.6% 1.2% 4.0% 0.0% 2.7% 1.5% 2.1% 2.7%

Number 43 7 8 1 10 0 20 3 5 3

 first paid job Percent 34.5% 37.2% 34.4% 38.8% 32.7% 41.7% 34.6% 34.2% 36.3% 39.6%

Number 529 159 105 33 81 15 257 67 86 44

 Grant Percent 0.9% 0.2% 0.3% 0.0% 0.0% 0.0% 1.2% 0.5% 1.7% 0.0%

Number 14 1 1 0009140

 job with a known band Percent 16.3% 8.4% 15.7% 8.2% 20.6% 11.1% 15.0% 7.1% 16.5% 9.9%

Number 249 36 48 7 51 4 111 14 39 11

 played with a major artist Percent 8.8% 3.7% 7.2% 2.4% 3.6% 2.8% 11.9% 5.1% 6.8% 2.7%

Number 135 16 22 2 9 1 88 10 16 3

 winning a competition Percent 3.3% 8.6% 3.9% 14.1% 3.6% 5.6% 2.3% 8.7% 5.1% 5.4%

Number 50 37 12 12 9 2 17 17 12 6

 other (please specify) Percent 26.2% 29.0% 28.9% 28.2% 27.0% 25.0% 25.6% 29.6% 24.1% 29.7%

Number 402 124 88 24 67 9 190 58 57 33

Missing 63 22 10 1 11 1 32 14 10 6

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Has your talent been recognized:

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 Locally Percent 93.4% 90.0% 92.5% 91.8% 94.0% 80.6% 94.1% 90.3% 92.0% 91.0%

Number 1431 385 282 78 233 29 698 177 218 101

 Nationally Percent 58.4% 43.7% 41.0% 41.2% 52.4% 27.8% 72.0% 53.1% 44.3% 34.2%

Number 894 187 125 35 130 10 534 104 105 38

 Internationally Percent 50.7% 34.6% 29.2% 27.1% 44.8% 13.9% 65.5% 42.9% 38.0% 32.4%

Number 776 148 89 23 111 5 486 84 90 36

 talent not recognized Percent 2.2% 3.3% 3.9% 2.4% 2.8% 13.9% 1.4% 2.6% 1.7% 1.8%

Number 33 14 12 2 7 5 10 5 4 2

 other (please specify) Percent 1.5% 1.4% 1.3% 0.0% 3.2% 0.0% 0.8% 2.6% 2.1% 0.9%

Number 23 6 4 0 8 06551

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Has your talent been recognized:
66

How satisfied are you with your music at this point?

How much did you receive in 2000 before taxes in each of the following areas?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 very satisfied Percent 32.8% 35.8% 34.1% 38.8% 32.7% 30.6% 33.2% 35.7% 30.0% 35.1%

Number 502 153 104 33 81 11 246 70 71 39

 Satisfied Percent 52.0% 51.2% 50.8% 50.6% 52.4% 52.8% 51.9% 51.0% 53.6% 51.4%

Number 797 219 155 43 130 19 385 100 127 57

 Dissatisfied Percent 10.6% 9.8% 10.2% 8.2% 10.9% 16.7% 10.1% 8.7% 12.7% 10.8%

Number 163 42 31 7 27 6 75 17 30 12

 Very dissatisfied Percent 1.6% 1.6% 2.0% 1.2% 0.8% 0.0% 1.4% 1.5% 2.5% 2.7%

Number 24 7 6 1 2 0 10 3 6 3

Missing 46 7 9 1 8 0 26 6 3 0

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Income

Have you applied for a grant or fellowship as a jazz or aspiring musician?

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 Yes Percent 16.5% 2.1% 7.2% 1.2% 13.3% 2.8% 24.7% 3.1% 5.9% 0.9%

Number 252 9 22 1 33 1 183 6 14 1

 No Percent 83.2% 97.4% 92.5% 98.8% 85.9% 97.2% 75.1% 95.9% 94.1% 99.1%

Number 1275 417 282 84 213 35 557 188 223 110

Missing 5 2 1 0 2 0 2 2 0 0

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Income

Have you applied for a grant or fellowship as a jazz or aspiring musician?

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 music-related

grants

 A $0- $5,000 Percent 93.0% 93.7% 92.8% 94.1% 91.9% 88.9% 93.1% 92.4% 93.7% 97.3%

Number 1424 401 283 80 228 32 691 181 222 108

 B $5,001-

$10,000

Percent 3.6% 3.7% 3.0% 3.5% 4.4% 8.3% 3.4% 3.6% 4.2% 2.7%

Number 55 16 9 3 11 3 25 7 10 3

 C $10,001-

$25,000

Percent 0.7% 0.9% 0.7% 1.2% 0.4% 0.0% 0.8% 1.5% 0.8% 0.0%

Number 11 421106320

 D $25,001-

$50,000

Percent 0.3% 0.2% 0.0% 0.0% 0.0% 0.0% 0.5% 0.5% 0.0% 0.0%

Number 4100004100

 E $50,001-

$75,000

Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0000000000

 f over $75,000 Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0000000000

mean 2,888 2,915 2,755 2,857 2,792 2,929 2,989 3,099 2,842 2,635
67

median 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500

 music-related

fellowships

 A $0- $5,000 Percent 94.2% 94.9% 93.8% 94.1% 93.6% 88.9% 94.5% 94.9% 94.5% 97.3%

Number 1443 406 286 80 232 32 701 186 224 108

 B $5,001-

$10,000

Percent 3.1% 3.7% 3.3% 4.7% 3.2% 8.3% 2.7% 3.1% 4.2% 2.7%

Number 48 16 10 4 8 3 20 6 10 3

 c $10,001-

$25,000

Percent 0.1% 0.0% 0.0% 0.0% 0.0% 0.0% 0.1% 0.0% 0.0% 0.0%

Number 1000001000

 d $25,001-

$50,000

Percent 0.3% 0.0% 0.0% 0.0% 0.0% 0.0% 0.5% 0.0% 0.0% 0.0%

Number 4000004000

 e $50,001-

$75,000

Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0000000000

 f over $75,000 Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0000000000

mean 2,764 2,689 2,668 2,738 2,667 2,929 2,851 2,656 2,714 2,635

median 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500

 Music

royalties/residuals

 A $0- $5,000 Percent 84.7% 88.1% 91.8% 92.9% 92.3% 86.1% 77.1% 83.2% 91.1% 93.7%

Number 1297 377 280 79 229 31 572 163 216 104

 b $5,001-

$10,000

Percent 4.7% 6.5% 2.6% 2.4% 1.6% 11.1% 6.7% 9.7% 4.2% 2.7%

Number 72 28 8 2 4 4 50 19 10 3

 c $10,001-

$25,000

Percent 3.4% 0.5% 1.0% 0.0% 1.2% 0.0% 5.5% 1.0% 2.1% 0.0%

Number 52 2 3 0 3 0 41 2 5 0

 d $25,001-

$50,000

Percent 1.0% 0.5% 1.0% 0.0% 0.0% 0.0% 1.8% 0.5% 0.0% 0.9%

Number 16 2 3 0 0 0 13 1 0 1

 e $50,001-

$75,000

Percent 0.2% 0.7% 0.0% 1.2% 0.0% 0.0% 0.4% 0.5% 0.0% 0.9%

Number 3301003101

 f over $75,000 Percent 0.9% 0.5% 0.0% 0.0% 0.0% 0.0% 1.8% 1.0% 0.4% 0.0%

Number 14 2 0 0 0 0 13 2 1 0

mean 4,491 3,865 3,146 3,354 2,775 3,071 6,030 4,442 3,351 3,509

median 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500

 public assistance

(welfare)

 A $0- $5,000 Percent 94.9% 96.3% 95.1% 95.3% 95.6% 88.9% 95.0% 97.5% 93.7% 97.3%

Number 1454 412 290 81 237 32 705 191 222 108

 b $5,001-

$10,000

Percent 2.6% 2.8% 2.0% 3.5% 1.6% 8.3% 2.3% 1.5% 5.1% 2.7%

Number 39 12 6 3 4 3 17 3 12 3

 c $10,001-

$25,000

Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0000000000

 d $25,001-

$50,000

Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0000000000

 e $50,001-

$75,000

Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0000000000

 f over $75,000 Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0000000000

mean 2,631 2,642 2,601 2,679 2,583 2,929 2,618 2,577 2,756 2,635
68

If you received grants or fellowships as a jazz or aspiring musician, from what sources did you receive them?

median 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500

 Unemployment

benefits

 A $0- $5,000 Percent 94.5% 94.9% 94.4% 95.3% 94.4% 91.7% 94.6% 94.9% 94.1% 95.5%

Number 1447 406 288 81 234 33 702 186 223 106

 b $5,001-

$10,000

Percent 2.9% 4.0% 2.6% 3.5% 2.0% 8.3% 2.7% 3.6% 4.6% 3.6%

Number 44 17 8 3 5 3 20 7 11 4

 c $10,001-

$25,000

Percent 0.1% 0.2% 0.0% 0.0% 0.4% 0.0% 0.0% 0.5% 0.0% 0.0%

Number 1100100100

 d $25,001-

$50,000

Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0000000000

 e $50,001-

$75,000

Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0000000000

 f over $75,000 Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0000000000

mean 2,658 2,736 2,635 2,679 2,667 2,917 2,639 2,758 2,735 2,682

median 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500 2,500

Missing

total # of respondents who

answered this question

(including refusals & don't

knows)

1532 428 305 85 248 36 742 196 237 111

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 Never received Percent 81.8% 91.4% 87.2% 90.6% 81.1% 88.9% 78.3% 93.9% 86.5% 88.3%

Number 1253 391 266 77 201 32 581 184 205 98

missing 11 1 0 0 0 0 5 0 0 0

 #

respondents

1532 428 36 7 44 4 742 196 237 111

 National Endowment for

the Arts

Percent 36.2% 8.3% 11.1% 0.0% 22.7% 0.0% 50.0% 16.7% 15.6% 7.7%

Number 97 3 4 0 10 0 78 2 5 1

 other federal agency

(specify agency)

Percent 5.2% 2.8% 11.1% 0.0% 6.8% 0.0% 3.9% 0.0% 3.1% 7.7%

Number 14 1 4 0 3 0 6 0 1 1

 regional agency (specify

agency)

Percent 6.3% 0.0% 8.3% 0.0% 4.6% 0.0% 6.4% 0.0% 6.3% 0.0%

Number 17 0 3 0 2 0 10 0 2 0

 state agency (specify

agency)

Percent 12.3% 8.3% 8.3% 0.0% 15.9% 0.0% 14.1% 16.7% 3.1% 7.7%

Number 33 3 3 0 7 0 22 2 1 1

 local agency (specify

agency)

Percent 8.2% 5.6% 8.3% 14.3% 11.4% 0.0% 8.3% 8.3% 3.1% 0.0%

Number 22 2 3 1 5 0 13 1 1 0

 foundation (specify

foundation)

Percent 13.8% 13.9% 0.0% 0.0% 11.4% 0.0% 17.3% 41.7% 15.6% 0.0%

Number 37 5 0 0 5 0 27 5 5 0

 educational institution

(specify institution)

Percent 9.7% 8.3% 13.9% 0.0% 11.4% 25.0% 9.0% 8.3% 6.3% 7.7%

Number 26 3 5 0 5 1 14 1 2 1

 corporate sponsor

(specify sponsor)

Percent 1.5% 0.0% 2.8% 0.0% 0.0% 0.0% 1.3% 0.0% 3.1% 0.0%

Number 4 0 1 0 0 0 2 0 1 0
69

I am going to read a list of income ranges. Please let me know when I get to the category that describes your

total income from work as a musician from all sources for 2000 before taxes.

Did this money cover your music-related costs in 2000?

 Other Percent 11.2% 2.8% 8.3% 0.0% 11.4% 0.0% 12.2% 0.0% 9.4% 7.7%

Number 30 1 3 0 5 0 19 0 3 1

total # of respondents who

answered this question

268 36 36 7 44 4 156 12 32 13

Total Detroit New Orleans New York San Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 $0- $500 Percent 7.5% 8.4% 15.4% 12.9% 8.9% 5.6% 3.2% 8.7% 9.3% 5.4%

Number 115 36 47 11 22 2 24 17 22 6

 $501- $3000 Percent 8.4% 9.6% 14.1% 11.8% 14.1% 13.9% 3.2% 5.6% 11.0% 13.5%

Number 128 41 43 10 35 5 24 11 26 15

 $3001- $7000 Percent 6.5% 8.4% 12.8% 9.4% 8.5% 13.9% 2.6% 6.1% 8.4% 9.9%

Number 99 36 39 8 21 5 19 12 20 11

 $7001-

$12,000

Percent 6.6% 7.0% 10.2% 10.6% 7.3% 16.7% 4.3% 4.1% 8.4% 6.3%

Number 101 30 31 9 18 6 32 8 20 7

 $12,001-

$20,000

Percent 10.2% 6.8% 11.2% 8.2% 13.3% 8.3% 8.6% 5.6% 10.6% 7.2%

Number 156 29 34 7 33 3 64 11 25 8

 $20,001-

$40,000

Percent 22.2% 18.7% 15.4% 21.2% 23.8% 33.3% 25.6% 11.7% 18.6% 24.3%

Number 340 80 47 18 59 12 190 23 44 27

 $40,001-

$60,000

Percent 13.1% 10.8% 3.0% 2.4% 10.1% 0.0% 17.7% 16.8% 14.8% 9.9%

Number 200 46 9 2 25 0 131 33 35 11

 $60,001-

$80,000

Percent 5.9% 7.5% 2.0% 4.7% 1.6% 2.8% 8.8% 8.7% 6.3% 9.0%

Number 90 32 6 4 4 1 65 17 15 10

 $80,001-

$100,000

Percent 3.9% 6.5% 4.9% 8.2% 0.0% 0.0% 4.7% 10.2% 3.8% 0.9%

Number 59 28 15 7 0 0 35 20 9 1

 more than

$100,000

Percent 7.0% 9.6% 2.0% 5.9% 1.6% 2.8% 11.9% 11.7% 3.8% 10.8%

Number 107 41 6 5 4 1 88 23 9 12

Mean dollars 33,487 36,516 19,316 28,491 20,683 19,122 44,972 45,518 29,205 33,586

Median dollars 30,000 30,000 9,500 16,000 16,000 9,500 30,000 50,000 16,000 30,000

Missing 137 29 28 4 27 1 70 21 12 3

total # of

respondents who

answered this

question

1395 399 277 81 221 35 672 175 225 108

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 Yes Percent 84.6% 84.6% 79.0% 80.0% 87.1% 88.9% 87.2% 86.2% 81.0% 83.8%

Number 1296 362 241 68 216 32 647 169 192 93

 No Percent 12.0% 13.1% 16.4% 18.8% 9.7% 11.1% 9.6% 10.7% 16.5% 13.5%

Number 184 56 50 16 24 4 71 21 39 15

Missing 52 10 14 1 8 0 24 6 6 3

total # of respondents

who answered this

question

1532 428 305 85 248 36 742 196 237 111
70

What percentage of this income came from your work as a jazz musician in 2000?

I am going to read a list of income ranges. Please let me know when I get to the category that describes your

total income as an individual from all sources in 2000 before taxes including your work as a musician.

Total Detroit New Orleans New York San Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Mean 43.9 6.0 35.3 5.1 57.0 18.3 44.6 4.2 39.0 5.6

Median 30 0 10 0 75 0 30 0 25 0

std. dev. 42.2 23.0 40.2 20.9 43.4 37.5 42.1 19.7 40.5 22.9

Mode 100 0 0 0 100 0 100 0 0 0

valid cases 1440 416 284 83 230 36 697 188 229 109

Missing 92 12 21 2 18 0 45 8 8 2

Total Detroit New Orleans New York San Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 $0- $500 Percent 0.9% 1.9% 1.0% 3.5% 0.8% 2.8% 0.7% 1.5% 1.3% 0.9%

Number 13 8 3 3 215331

 $501-

$3000

Percent 1.1% 1.9% 2.3% 2.4% 0.8% 0.0% 0.7% 1.5% 1.3% 2.7%

Number 17 8 7 2 205333

 $3001-

$7000

Percent 1.1% 2.1% 2.3% 3.5% 2.0% 2.8% 0.3% 1.5% 1.3% 1.8%

Number 17 9 7 3 512332

 $7001-

$12,000

Percent 2.4% 4.0% 3.9% 3.5% 4.0% 11.1% 1.6% 3.1% 0.8% 3.6%

Number 36 17 12 3 10 4 12 6 2 4

 $12,001-

$20,000

Percent 7.1% 6.1% 7.2% 7.1% 11.3% 11.1% 4.6% 5.1% 10.6% 5.4%

Number 109 26 22 6 28 4 34 10 25 6

 $20,001-

$40,000

Percent 27.1% 24.5% 26.2% 29.4% 35.5% 50.0% 24.4% 15.8% 27.9% 27.9%

Number 415 105 80 25 88 18 181 31 66 31

 $40,001-

$60,000

Percent 19.8% 17.8% 16.4% 14.1% 17.3% 8.3% 20.6% 18.4% 24.5% 22.5%

Number 304 76 50 12 43 3 153 36 58 25

 $60,001-

$80,000

Percent 11.5% 11.2% 12.5% 10.6% 7.3% 5.6% 13.3% 12.2% 8.9% 11.7%

Number 176 48 38 9 18 2 99 24 21 13

 $80,001-

$100,000

Percent 6.4% 9.4% 8.9% 9.4% 1.2% 0.0% 7.0% 13.8% 6.8% 4.5%

Number 98 40 27 8 3 0 52 27 16 5

 More

than

$100,000

Percent 10.5% 12.4% 6.9% 9.4% 5.7% 2.8% 14.2% 13.8% 8.9% 15.3%

Number 161 53 21 8 14 1 105 27 21 17

Mean dollars 49,847 50,894 47,206 46,123 38,930 30,508 55,352 57,518 47,386 50,370

Median dollars 50,000 50,000 50,000 30,000 30,000 30,000 50,000 50,000 50,000 50,000

Missing 186 38 38 6 35 2 94 26 19 4

total # of

respondents

who

answered

this question

1346 390 267 79 213 34 648 170 218 107
71

I am going to read a list of income ranges. Please let me know when I get to the category that describes your

total household gross income in 2000 before taxes.

What is the number of dependents you and your household are responsible for (include yourself as 1)?

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 $0- $500 Percent 0.5% 0.9% 1.0% 1.2% 0.0% 2.8% 0.5% 1.0% 0.4% 0.0%

Number 8 4 3 1 0 1 4 2 1 0

 $501- $3000 Percent 0.6% 0.7% 1.0% 1.2% 0.0% 0.0% 0.5% 0.5% 0.8% 0.9%

Number 9 3 3 1 0 0 4 1 2 1

 $3001- $7000 Percent 0.7% 0.0% 1.3% 0.0% 2.0% 0.0% 0.1% 0.0% 0.4% 0.0%

Number 11 0 4 0 5 0 1 0 1 0

 $7001- $12,000 Percent 1.9% 0.5% 3.0% 1.2% 3.2% 2.8% 1.5% 0.0% 0.4% 0.0%

Number 29 2 9 1 8 1 11 0 1 0

 $12,001-

$20,000

Percent 3.9% 3.5% 4.6% 5.9% 6.9% 5.6% 2.6% 3.6% 4.2% 0.9%

Number 60 15 14 5 17 2 19 7 10 1

 $20,001-

$40,000

Percent 17.2% 13.1% 18.7% 14.1% 24.6% 30.6% 13.3% 7.7% 19.8% 16.2%

Number 264 56 57 12 61 11 99 15 47 18

 $40,001-

$60,000

Percent 15.0% 13.8% 14.8% 9.4% 16.9% 16.7% 14.4% 11.2% 15.2% 20.7%

Number 230 59 45 8 42 6 107 22 36 23

 $60,001-

$80,000

Percent 13.9% 12.2% 11.5% 16.5% 12.9% 16.7% 15.1% 9.2% 14.4% 12.6%

Number 213 52 35 14 32 6 112 18 34 14

 $80,001-

$100,000

Percent 10.3% 12.4% 10.2% 10.6% 8.1% 2.8% 10.4% 13.8% 12.2% 14.4%

Number 157 53 31 9 20 1 77 27 29 16

 more than

$100,000

Percent 22.4% 30.8% 18.7% 25.9% 9.3% 13.9% 28.0% 37.8% 23.2% 27.9%

Number 343 132 57 22 23 5 208 74 55 31

Mean dollars 63,496 70,493 59,053 66,322 51,169 50,963 69,021 76,833 64,252 69,498

Median dollars 70,000 70,000 50,000 70,000 50,000 50,000 70,000 90,000 70,000 70,000

Missing 208 52 47 12 40 3 100 30 21 7

total # of

respondents who

answered this

question

1324 376 258 73 208 33 642 166 216 104

Total Detroit New

Orleans

New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 1 self only Percent 46.0% 49.5% 40.0% 48.2% 39.5% 52.8% 47.8% 50.0% 54.4% 48.7%

Number 704 212 122 41 98 19 355 98 129 54

 2 Percent 29.0% 25.5% 35.4% 23.5% 30.7% 33.3% 27.6% 24.5% 23.2% 26.1%

Number 444 109 108 20 76 12 205 48 55 29

 3-4 Percent 20.5% 20.3% 20.7% 23.5% 23.0% 13.9% 20.1% 20.4% 19.0% 19.8%

Number 314 87 63 20 57 5 149 40 45 22

 5-7 Percent 3.1% 4.0% 2.3% 3.5% 5.2% 0.0% 2.8% 4.6% 3.0% 4.5%

Number 48 17 7 3 13 0 21 9 7 5

 8-10 Percent 0.3% 0.2% 0.7% 0.0% 0.4% 0.0% 0.1% 0.5% 0.0% 0.0%

Number 4 1 2 0101100

 more than 10 Percent 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 0 0 0 0000000

M
72

Mean 1.8 1.8 1.9 1.8 2.0 1.6 1.8 1.8 1.7 1.8

Median 2.0 2.0 2.0 2.0 2.0 1.0 2.0 1.5 1.0 2.0

Missing 18 2 3 1 3 0 11 0 1 1

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

What is your current marital status?

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 Single, never

married

Percent 20.1% 23.4% 14.4% 12.9% 16.1% 25.0% 22.9% 24.5% 22.8% 28.8%

Number 308 100 44 11 40 9 170 48 54 32

 living with significant

other

Percent 1.9% 3.0% 1.0% 3.5% 2.0% 0.0% 2.3% 4.1% 1.7% 1.8%

Number 29 13 3 3 5 0 17 8 4 2

 married Percent 62.1% 60.1% 69.5% 68.2% 62.5% 61.1% 60.0% 58.2% 59.1% 56.8%

Number 952 257 212 58 155 22 445 114 140 63

 separated Percent 1.4% 1.4% 1.0% 0.0% 1.2% 0.0% 1.8% 2.0% 1.3% 1.8%

Number 22 6 3 0 3 0 13 4 3 2

 divorced Percent 10.1% 9.1% 8.5% 10.6% 13.7% 8.3% 9.4% 8.2% 10.1% 9.9%

Number 154 39 26 9 34 3 70 16 24 11

 widowed Percent 3.3% 2.1% 4.9% 2.4% 3.2% 5.6% 2.3% 2.0% 4.6% 0.9%

Number 51 9 15 2 8 2 17 4 11 1

 living with parents

and/or siblings

Percent 0.1% 0.2% 0.0% 0.0% 0.4% 0.0% 0.1% 0.5% 0.0% 0.0%

Number 2 1 0 0 1 0 1 1 0 0

 Other Percent 0.1% 0.0% 0.0% 0.0% 0.4% 0.0% 0.0% 0.0% 0.4% 0.0%

Number 2 0 0 0 1 0 0 0 1 0

Missing 12 3 2 2 1 0 9 1 0 0

total # of respondents

who answered this

question

1532 428 305 85 248 36 742 196 237 111

Current Activity

Have you played jazz for money during the last 12 months?

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 Yes Percent 76.3% 7.0% 67.9% 8.2% 82.7% 11.1% 79.1% 7.7% 71.7% 3.6%

Number 1169 30 207 7 205 4 587 15 170 4

 No Percent 23.1% 93.0% 31.5% 91.8% 16.5% 88.9% 20.2% 92.4% 28.3% 96.4%

Number 354 398 96 78 41 32 150 181 67 107

Missing 9 0 2 0 2 0 5 0 0 0

total # of respondents

who answered this

question

1532 428 305 85 248 36 742 196 237 111
73

If you currently play with a group, how many different groups do you play with?

In your opinion, what are the three most important qualities someone needs to pursue a career in jazz?

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 none, play solo only Percent 14.6% 16.6% 17.4% 11.8% 9.7% 13.9% 15.1% 21.4% 14.8% 12.6%

Number 224 71 53 10 24 5 112 42 35 14

 One Percent 12.5% 19.4% 14.4% 21.2% 17.3% 25.0% 10.2% 16.8% 12.2% 20.7%

Number 192 83 44 18 43 9 76 33 29 23

 Two Percent 9.7% 12.2% 11.2% 12.9% 10.9% 27.8% 7.8% 9.2% 12.2% 11.7%

Number 148 52 34 11 27 10 58 18 29 13

 Three Percent 11.2% 11.9% 14.4% 12.9% 13.7% 13.9% 9.0% 9.7% 11.0% 14.4%

Number 171 51 44 11 34 5 67 19 26 16

 Four Percent 8.4% 6.8% 6.9% 10.6% 7.3% 8.3% 8.0% 4.6% 12.7% 7.2%

Number 128 29 21 9 18 3 59 9 30 8

 more than four Percent 40.7% 30.1% 33.4% 27.1% 38.3% 11.1% 46.0% 34.7% 35.9% 30.6%

Number 623 129 102 23 95 4 341 68 85 34

Missing 46 13 7 3 7 0 29 7 3 3

total # of respondents

who answered this

question

1532 428 305 85 248 36 742 196 237 111

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 Choice 1

 business savvy Percent 1.2% 1.4% 1.3% 2.4% 2.0% 2.8% 0.8% 1.0% 1.7% 0.9%

Number 19 6 4 2 5 1 6 2 4 1

 connections Percent 0.4% 0.2% 1.0% 1.2% 0.8% 0.0% 0.0% 0.0% 0.4% 0.0%

Number 6 1 3 1 2 0 0 0 1 0

 curiosity Percent 0.4% 0.0% 0.7% 0.0% 0.8% 0.0% 0.3% 0.0% 0.0% 0.0%

Number 6 0 2 0 2 0 2 0 0 0

 energy Percent 0.8% 0.7% 1.0% 2.4% 2.4% 0.0% 0.4% 0.0% 0.0% 0.9%

Number 12 3 3 2 6 0 3 0 0 1

 intelligence Percent 1.2% 1.2% 1.0% 3.5% 2.4% 2.8% 0.9% 0.5% 0.8% 0.0%

Number 18 5 3 3 6 1 7 1 2 0

 Luck Percent 0.5% 1.2% 0.7% 3.5% 1.2% 0.0% 0.3% 1.0% 0.0% 0.0%

Number 7 5 2 3 3 0 2 2 0 0

 perception Percent 0.2% 0.2% 0.3% 0.0% 0.4% 0.0% 0.0% 0.5% 0.4% 0.0%

Number 3 1 1 0 1 0 0 1 1 0

 performing ability Percent 1.8% 1.6% 1.6% 1.2% 2.8% 2.8% 1.2% 1.0% 2.5% 2.7%

Number 27 7 5 1 7 1 9 2 6 3

 physical stamina Percent 1.1% 0.7% 1.3% 1.2% 0.4% 5.6% 0.8% 0.0% 2.5% 0.0%

Number 17 3 4 1 1 2 6 0 6 0

 Talent Percent 23.1% 30.8% 24.6% 24.7% 21.8% 38.9% 23.5% 34.7% 21.5% 26.1%

Number 354 132 75 21 54 14 174 68 51 29

 technique Percent 1.3% 0.2% 1.6% 0.0% 2.8% 0.0% 0.7% 0.5% 1.3% 0.0%

Number 20 1 5 0 7 0 5 1 3 0

O
74

In your opinion, what are the three most important qualities someone needs to pursue a career in jazz?

In your opinion, what are the three most important qualities someone needs to pursue a career in jazz?

 Other Percent 67.3% 61.2% 63.9% 57.7% 60.9% 47.2% 70.6% 60.7% 67.9% 69.4%

Number 1031 262 195 49 151 17 524 119 161 77

Missing 12 2 3 2 3 0 4 0 2 0

total # of respondents

who answered this

question

1532 428 305 85 248 36 742 196 237 111

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 Choice 2

 business savvy Percent 4.2% 1.6% 3.6% 3.5% 6.1% 2.8% 4.0% 1.5% 3.8% 0.0%

Number 65 7 11 3 15 1 30 3 9 0

 connections Percent 1.3% 1.2% 0.7% 2.4% 2.4% 0.0% 1.2% 1.0% 1.3% 0.9%

Number 20 5 2 2 6 0 9 2 3 1

 curiosity Percent 0.8% 0.2% 0.7% 0.0% 0.8% 0.0% 0.7% 0.5% 1.3% 0.0%

Number 12 1 2 0 2 0 5 1 3 0

 energy Percent 1.3% 1.4% 2.3% 2.4% 1.6% 5.6% 0.5% 1.0% 2.1% 0.0%

Number 20 6 7 2 4 2 4 2 5 0

 intelligence Percent 1.1% 1.2% 1.3% 3.5% 2.4% 0.0% 0.7% 1.0% 0.8% 0.0%

Number 17 5 4 3 6 0 5 2 2 0

 Luck Percent 0.7% 1.2% 0.7% 1.2% 1.2% 0.0% 0.4% 1.5% 0.8% 0.9%

Number 10 5 2 1 3 0 3 3 2 1

 perception Percent 0.5% 0.5% 0.3% 0.0% 0.8% 2.8% 0.3% 0.5% 0.8% 0.0%

Number 7 2 1 0 2 1 2 1 2 0

 performing ability Percent 2.3% 1.4% 3.3% 2.4% 4.4% 5.6% 1.5% 0.5% 1.3% 0.9%

Number 35 6 10 2 11 2 11 1 3 1

 physical stamina Percent 2.1% 1.4% 2.0% 3.5% 3.6% 2.8% 1.9% 1.0% 1.3% 0.0%

Number 32 6 6 3 9 1 14 2 3 0

 Talent Percent 9.9% 14.0% 9.8% 14.1% 9.7% 11.1% 9.7% 14.8% 10.6% 13.5%

Number 151 60 30 12 24 4 72 29 25 15

 technique Percent 1.4% 1.6% 2.3% 3.5% 1.6% 5.6% 0.4% 0.5% 3.0% 0.9%

Number 21 7 7 3 4 2 3 1 7 1

 Other Percent 70.6% 71.3% 69.8% 57.7% 60.5% 63.9% 74.9% 73.5% 68.4% 80.2%

Number 1081 305 213 49 150 23 556 144 162 89

Missing 61 13 10 5 12 0 28 5 11 3

total # of respondents

who answered this

question

1532 428 305 85 248 36 742 196 237 111

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 Choice 2

 business savvy Percent 4.2% 1.6% 3.6% 3.5% 6.1% 2.8% 4.0% 1.5% 3.8% 0.0%

Number 65 7 11 3 15 1 30 3 9 0

 connections Percent 1.3% 1.2% 0.7% 2.4% 2.4% 0.0% 1.2% 1.0% 1.3% 0.9%

Number 20 5 2 2 6 0 9 2 3 1
75

What are your three most important goals for the next five years as a musician?

 curiosity Percent 0.8% 0.2% 0.7% 0.0% 0.8% 0.0% 0.7% 0.5% 1.3% 0.0%

Number 12 1 2 0 2 0 5 1 3 0

 energy Percent 1.3% 1.4% 2.3% 2.4% 1.6% 5.6% 0.5% 1.0% 2.1% 0.0%

Number 20 6 7 2 4 2 4 2 5 0

 intelligence Percent 1.1% 1.2% 1.3% 3.5% 2.4% 0.0% 0.7% 1.0% 0.8% 0.0%

Number 17 5 4 3 6 0 5 2 2 0

 Luck Percent 0.7% 1.2% 0.7% 1.2% 1.2% 0.0% 0.4% 1.5% 0.8% 0.9%

Number 10 5 2 1 3 0 3 3 2 1

 perception Percent 0.5% 0.5% 0.3% 0.0% 0.8% 2.8% 0.3% 0.5% 0.8% 0.0%

Number 7 2 1 0 2 1 2 1 2 0

 performing ability Percent 2.3% 1.4% 3.3% 2.4% 4.4% 5.6% 1.5% 0.5% 1.3% 0.9%

Number 35 6 10 2 11 2 11 1 3 1

 physical stamina Percent 2.1% 1.4% 2.0% 3.5% 3.6% 2.8% 1.9% 1.0% 1.3% 0.0%

Number 32 6 6 3 9 1 14 2 3 0

 Talent Percent 9.9% 14.0% 9.8% 14.1% 9.7% 11.1% 9.7% 14.8% 10.6% 13.5%

Number 151 60 30 12 24 4 72 29 25 15

 technique Percent 1.4% 1.6% 2.3% 3.5% 1.6% 5.6% 0.4% 0.5% 3.0% 0.9%

Number 21 7 7 3 4 2 3 1 7 1

 Other Percent 70.6% 71.3% 69.8% 57.7% 60.5% 63.9% 74.9% 73.5% 68.4% 80.2%

Number 1081 305 213 49 150 23 556 144 162 89

Missing 61 13 10 5 12 0 28 5 11 3

total # of respondents

who answered this

question

1532 428 305 85 248 36 742 196 237 111

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 Choice 1

 develop artistic

competence

Percent 3.7% 2.3% 3.0% 3.5% 4.0% 5.6% 3.6% 1.0% 4.6% 2.7%

Number 57 10 9 3 10 2 27 2 11 3

 get a record deal Percent 5.8% 3.3% 4.3% 2.4% 4.8% 5.6% 7.1% 3.1% 4.6% 3.6%

Number 89 14 13 2 12 2 53 6 11 4

 lead my own groups Percent 1.2% 0.5% 1.0% 0.0% 1.6% 0.0% 1.4% 0.5% 0.8% 0.9%

Number 19 2 3 0 4 0 10 1 2 1

 make a living from

my music

Percent 4.5% 3.5% 3.3% 1.2% 7.3% 0.0% 4.0% 5.6% 4.6% 2.7%

Number 69 15 10 1 18 0 30 11 11 3

 make money from

my music

Percent 3.3% 3.3% 2.3% 3.5% 7.7% 5.6% 2.2% 2.6% 3.8% 3.6%

Number 51 14 7 3 19 2 16 5 9 4

 Obtain critical

reviews

Percent 0.1% 0.0% 0.0% 0.0% 0.0% 0.0% 0.1% 0.0% 0.4% 0.0%

Number 2 0 0 0 0 0 1 0 1 0

 participate in major

concerts

Percent 0.9% 1.6% 0.7% 3.5% 0.4% 0.0% 1.1% 1.0% 0.8% 1.8%

Number 13 7 2 3 1 0 8 2 2 2

 play with well-known

groups

Percent 0.9% 2.6% 1.0% 4.7% 1.2% 11.1% 0.7% 1.5% 1.3% 0.0%

Number 14 11 3 4 3 4 5 3 3 0
76

What are your three most important goals for the next five years as a musician?

 reach higher level of

artistic

expression/Achievement

Percent 11.0% 10.8% 11.5% 11.8% 12.5% 13.9% 10.0% 10.2% 11.8% 9.9%

Number 168 46 35 10 31 5 74 20 28 11

 Spend more time on

music

Percent 2.0% 2.6% 1.6% 4.7% 3.6% 0.0% 0.9% 2.0% 4.2% 2.7%

Number 31 11 5 4 9 0 7 4 10 3

 Win

recognition/award

Percent 1.4% 0.2% 1.0% 0.0% 2.4% 0.0% 1.2% 0.5% 1.3% 0.0%

Number 21 1 3 0 6 0 9 1 3 0

 Other Percent 62.3% 64.0% 66.9% 54.1% 49.6% 52.8% 65.8% 68.9% 59.1% 66.7%

Number 955 274 204 46 123 19 488 135 140 74

Missing 43 23 11 9 12 2 14 6 6 6

total # of respondents

who answered this

question

1532 428 305 85 248 36 742 196 237 111

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 Choice 2

 develop artistic

competence

Percent 3.4% 2.3% 3.9% 2.4% 2.8% 0.0% 3.1% 2.0% 4.2% 3.6%

Number 52 10 12 2 7 0 23 4 10 4

 get a record deal Percent 3.2% 2.1% 3.9% 2.4% 4.0% 2.8% 3.5% 2.6% 0.4% 0.9%

Number 49 9 12 2 10 1 26 5 1 1

 lead my own groups Percent 1.3% 0.5% 0.3% 1.2% 3.2% 0.0% 0.8% 0.0% 2.1% 0.9%

Number 20 2 11806051

 make a living from my

music

Percent 3.5% 3.0% 2.0% 2.4% 4.8% 11.1% 3.6% 2.6% 3.4% 1.8%

Number 53 13 6 2 12 4 27 5 8 2

 make money from my

music

Percent 4.4% 3.3% 3.0% 3.5% 6.1% 0.0% 4.0% 4.1% 5.9% 2.7%

Number 68 14 9 3 15 0 30 8 14 3

 Obtain critical reviews Percent 0.3% 0.0% 0.7% 0.0% 0.8% 0.0% 0.0% 0.0% 0.0% 0.0%

Number 4 0 20200000

 participate in major

concerts

Percent 1.3% 0.7% 0.7% 0.0% 2.8% 0.0% 1.2% 0.5% 0.8% 1.8%

Number 20 3 20709122

 play with well-known

groups

Percent 1.4% 1.4% 1.6% 2.4% 0.8% 0.0% 1.2% 1.0% 2.5% 1.8%

Number 22 6 52209262

 Reach higher level of

artistic

expression/achievement

Percent 7.3% 8.6% 9.5% 9.4% 6.9% 8.3% 6.2% 8.7% 8.4% 8.1%

Number 112 37 29 8 17 3 46 17 20 9

 Spend more time on

music

Percent 2.2% 1.4% 3.0% 2.4% 2.4% 5.6% 1.5% 0.5% 3.0% 0.9%

Number 33 6 9 2 6 2 11 1 7 1

 win recognition/award Percent 1.5% 0.2% 1.6% 0.0% 2.4% 0.0% 1.2% 0.5% 1.3% 0.0%

Number 23 1 50609130

 Other Percent 59.9% 61.5% 56.7% 50.6% 49.2% 55.6% 64.7% 64.3% 59.9% 66.7%

Number 917 263 173 43 122 20 480 126 142 74

Missing 159 64 40 20 34 6 66 26 19 12

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111
77

What are your three most important goals for the next five years as a musician?

Background Information

What is your date of birth?

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 Choice 3

 develop artistic

competence

Percent 1.9% 2.3% 2.0% 2.4% 2.4% 2.8% 1.1% 2.6% 3.8% 1.8%

Number 29 10 62618592

 get a record deal Percent 2.2% 0.9% 1.0% 0.0% 1.6% 0.0% 2.8% 1.5% 2.5% 0.9%

Number 34 4 3 0 4 0 21 3 6 1

 lead my own groups Percent 0.8% 0.5% 0.3% 0.0% 0.8% 0.0% 0.9% 0.0% 0.8% 1.8%

Number 12 2 10207022

 make a living from my

music

Percent 1.8% 0.7% 1.6% 0.0% 2.8% 0.0% 1.6% 1.0% 1.7% 0.9%

Number 28 3 5 0 7 0 12 2 4 1

 make money from my

music

Percent 3.0% 2.8% 3.3% 4.7% 2.8% 2.8% 2.8% 2.6% 3.4% 1.8%

Number 46 12 10 4 7 1 21 5 8 2

 Obtain critical reviews Percent 0.3% 0.2% 0.3% 0.0% 0.8% 0.0% 0.1% 0.5% 0.0% 0.0%

Number 4 1 10201100

 participate in major

concerts

Percent 0.9% 0.9% 0.7% 1.2% 0.0% 0.0% 0.9% 0.5% 2.1% 1.8%

Number 14 4 21007152

 play with well-known

groups

Percent 1.2% 0.5% 0.3% 0.0% 2.8% 0.0% 0.8% 0.5% 2.1% 0.9%

Number 19 2 10706151

 Reach higher level of

artistic

expression/achievement

Percent 5.4% 4.0% 3.3% 4.7% 8.1% 13.9% 5.3% 2.0% 5.9% 3.6%

Number 83 17 10 4 20 5 39 4 14 4

 Spend more time on

music

Percent 2.2% 1.6% 3.0% 3.5% 2.4% 0.0% 1.6% 2.0% 2.5% 0.0%

Number 33 7 9 3 6 0 12 4 6 0

 win recognition/award Percent 1.6% 1.4% 0.7% 0.0% 2.0% 2.8% 2.3% 1.5% 0.4% 1.8%

Number 25 6 2 0 5 1 17 3 1 2

 Other Percent 61.2% 59.4% 62.6% 49.4% 52.4% 58.3% 63.9% 59.7% 59.9% 66.7%

Number 937 254 191 42 130 21 474 117 142 74

Missing 268 106 64 29 52 7 117 50 35 20

total # of respondents who

answered this question

1532 428 305 85 248 36 742 196 237 111

Total Detroit New Orleans New York San Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Mean 53.2 49.6 57.6 51.6 53.2 48.2 51.1 49.1 53.8 49.4

Median 50 47 57 48.5 52.5 46.5 48 48 50.5 46

std. dev. 14.2 13.8 14.7 14.8 14.1 15.3 13.5 13.1 14.7 13.6

Mode 1 49 48 44 35 49 27 49 42 49 46

Mode 2 -- -- 72 38 54 34 -- 48 50 --

Mode 3 -- -- -- 46 -- 38 -- -- -- --

Mode 4 -- -- -- -- -- 42 -- -- -- --
78

What is your gender?

Mode 5 -- -- -- -- -- 46 -- -- -- --

Mode 6 -- -- -- -- -- 50 -- -- -- --

Mode 7 -- -- -- -- -- 56 -- -- -- --

Mode 8 -- -- -- -- -- 58 -- -- -- --

Mode 9 -- -- -- -- -- 60 -- -- -- --

Min 16 23 22 26 16 25 20 23 25 24

Max 92 90 91 82 92 90 89 89 88 82

Valid cases 1494 407 296 82 242 36 722 184 234 105

Missing 38 21 9 3 6 0 20 12 3 6

What is your race?

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 American Indian or

Alaska Native

Percent 0.2% 0.2% 0.7% 0.0% 0.4% 0.0% 0.0% 0.0% 0.0% 0.9%

Number 3120100001

 Asian Percent 1.0% 3.7% 0.7% 1.2% 0.8% 5.6% 0.9% 4.1% 2.1% 4.5%

Number 16 16 21227855

 Black or African

American

Percent 18.3% 4.7% 22.6% 10.6% 25.4% 2.8% 17.3% 3.6% 8.9% 2.7%

Number 281 20 69 9 63 1 128 7 21 3

 Hispanic or Latino Percent 1.6% 1.2% 0.3% 0.0% 0.0% 0.0% 2.0% 1.5% 3.4% 1.8%

Number 24 5 1 0 0 0 15 3 8 2

 Native Hawaiian or

Other Pacific Islander

Percent 0.3% 0.0% 0.0% 0.0% 0.0% 0.0% 0.3% 0.0% 0.8% 0.0%

Number 4000002020

 White Percent 71.9% 84.8% 71.5% 85.9% 66.5% 88.9% 71.3% 83.2% 80.2% 85.6%

Number 1102 363 218 73 165 32 529 163 190 95

 Other Percent 3.7% 3.7% 2.0% 1.2% 4.0% 2.8% 4.6% 5.6% 3.0% 2.7%

Number 57 16 6 1 10 1 34 11 7 3

Missing 45 7 7 1 7 0 27 4 4 2

total # of respondents

who answered this

question

1532 428 305 85 248 36 742 196 237 111

What is your race?

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 Male Percent 84.1% 53.3% 83.3% 44.7% 88.7% 47.2% 84.8% 61.7% 78.1% 46.9%

Number 1288 228 254 38 220 17 629 121 185 52

 Female Percent 15.9% 46.5% 16.7% 55.3% 11.3% 52.8% 15.1% 37.8% 21.9% 53.2%

Number 243 199 51 47 28 19 112 74 52 59

Missing 1 1 0 0 0 0 1 1 0 0

total # of respondents

who answered this

question

1532 428 305 85 248 36 742 196 237 111
79

Are you...

Total Detroit New Orleans New York San

Francisco

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

Jazz Non

Jazz

 1 Hispanic or Latino Percent 2.7% 1.2% 1.6% 1.2% 2.8% 2.8% 3.2% 0.5% 2.2% 1.8%

Number 40 5 5 1 7 1 23 1 5 2

 2 Not Hispanic or

Latino

Percent 94.6% 97.4% 96.1% 98.8% 94.8% 97.2% 93.8% 97.4% 95.2% 96.3%

Number 1427 412 292 84 235 35 682 188 218 105

Missing 41 6 7 0 6 0 22 4 6 2

total # of respondents

who answered this

question

1508 423 304 85 248 36 727 193 229 109

# respondents not

answering question

29 1 0 18 10
80

Appendix D. Union Survey Letter
81

Appendix E. Response Rate

Complete Bad

Number

Unable

to

Contact

Too Ill/

Deceased

Language

Problem

Not

Musician

Refused Wrong

City

Pending Total

New

Orleans

284

(includes

8 pilot

surveys)

82 3 19 2 8 58 34 151 641

Detroit 393

(includes

6 pilot

surveys)

112 1 22 0 26 111 18 206 889

San

Francisco

348

(includes

6 pilot

surveys)

56 0 23 1 10 62 56 183 739

New

York

593

(includes

5 pilot

surveys)

135 1 28 3 48 151 50 501 1,510

NY-Jazz 345 19 2 6 0 7 42 19 72 512

Total 1,963 404 7 98 6 99 424 177 1,113 4,291

New Orleans Detroit San Francisco New York NY-Jazz Total

Jazz Musician 181 175 135 202 276 969

Non-Jazz

Musician

92 194 192 358 53 889

Other 11 24 21 33 16 105

Total 284 393 348 593 345 1,938
82

Therefore, based on the estimate of both the number

of New York union jazz musicians (7,360) and the

estimate of the portion of all New York jazz

musicians who are union members (.223), the size

of the New York jazz musician universe is estimated

using the following formula:

7,360/.223 = 33,003

San Francisco 

Capture:

The proportion of San Francisco area musician

union members who identified themselves as jazz

musicians (in response to the union member

survey) is .681.

The number of musician union members in the San

Francisco metropolitan area, according to union

records is 2,217.

Therefore, the estimated number of union jazz

musicians is 1,509 (2,217 x .681).

Recapture:

The proportion of all San Francisco jazz musicians

who are union members is estimated based on the

RDS sample using the following formula for Pa, the

proportion of union members:

Pa = (Sba * Nb)/(Sba * Nb + Sab * Na)

Pa = .0806

Therefore, based on the estimate of both the number

of San Francisco union jazz musicians (1,509) and

the estimate of the portion of all San Francisco jazz

musicians who are union members (.0806), the size

of the San Francisco jazz musician universe is

estimated using the following formula:

1,509/.0806 = 18,733

New Orleans 

Capture:

The proportion of New Orleans area musician

union members who identified themselves as jazz

musicians (in response to the union member

survey) is .873.

Using the Capture –Recapture Method to Estimate

the Number of Jazz Musicians*

The capture-recapture method is used to estimate

the number of jazz artists by comparing the overlap

between the union and RDS-identified jazz artists.

Specifically, in order to calculate the universe of jazz

musicians in each city, the number of jazz artists

identified in the union study (capture) is divided by

the proportion of jazz artists who are determined to

be union members based on the RDS survey results

(recapture). The steps taken to estimate the number

of jazz musicians in each metro area are described

below:

New York 

Capture:

The proportion of New York area musician union

members who identified themselves as jazz

musicians (in response to the union member

survey) is .701 (415/592).

The number of musician union members in the

New York metropolitan area, according to union

records, is 10,499.

Therefore, the estimated number of union jazz

musicians is 7,360 (10,499 x .701).

Recapture:

The proportion of all New York jazz musicians who

are union members is estimated based on the RDS

sample using the following formula for Pa, the

proportion of union members:

Pa = (Sba * Nb)/(Sba * Nb + Sab * Na)

Na is the mean network size of union members =

298.2

Nb is the mean network size of nonunion members

= 175.2

Sab is the proportion of nonunion members

recruited by union members = .512

Sba is the proportion of union members recruited

by nonunion members = .252

Which yields P a= .22301

Appendix F.
83

The number of musician union members in the

New Orleans metropolitan area, according to union

records, is 1,014.

Therefore, the estimated number of union jazz

musicians is 885 (1,014 x .873).

Recapture:

The proportion of all New Orleans jazz musicians

who are union members is estimated based on the

RDS sample as .514. *

Therefore, based on the estimate of both the number

of New Orleans union jazz musicians (885) and the

estimate of the portion of all New Orleans jazz

musicians who are union members (.514), the size

of the New Orleans jazz musician universe is

estimated using the following formula:

885/.514 =1,723

* The number of documented referrals in New

Orleans was too small for a meaningful analysis of

referral patterns. Therefore, it was not possible to

use the equation to compute the proportion of

union members in New Orleans (i.e., no data for the

terms Sab and Sba). Therefore, the proportion of

union members in the RDS sample (i.e., .514) was

used instead.

*Detroit did not have enough responses in the RDS survey to do this calculation.
84

Music For Hope Foundation

1351 S. Riverview

Gardenville, NV 89410

775.265.4372 (F) 775.265.4512

www.musicforhope.org

Mid Atlantic Arts Foundation

22 Light St., Suite 330

Baltimore, MD 21202

410.539.6656 (F) 410.837.5517

info@midatlanticarts.org

www.midatlanticarts.org

National Foundation for Advancement In The Arts

800.970.ARTS

www.ARTSawards.org

National Music Foundation

2457A South Hiawassee Rd., Suite 244

Orlando, FL 32835

(P) 1.800.USA.MUSIC

info@usamusic.org

www.nmc.org

New England Foundation For The Arts

266 Summer St. 2nd Fl.

Boston, MA 02210-1216

617.951.0010 (F) 617.951.0016

www.neta.org

The Vail Jazz Foundation, Inc.

P.O. Box 3035

Vail, CO 81658

(P) 970.479.6146 (F) 970.477.0866

vjf@vailjazz.org

www.vailjazz.org

Detroit

James Tatum Foundation for the Arts

PO Box 32240

Detroit, MI 48232

(P) 313.255.9015

jtfa@detroit.net

FOUNDATIONS

National

Arkansas Jazz Heritage Foundation

P.O. Box 251187

Little Rock, AR 72225-1187

(P) 501.663.5264 (F) 501.225.2133

info@arjazz.org

www.arjazz.org

Arts Alive Foundation

P.O. Box 1746

Beverly Hills, CA 90213-1746

(P) 310.276.5951

Beyond Baroque Foundation

681 Venice Blvd.

P.O. Box 806

Venice, CA 90291

(P) 213.822.3006

www.beyondbaroque.org

Butch Berman Charitable Music Foundation

4500 Kirkwood Drive

Lincoln, NE 68516

(P) 402.476.3112 (F) 402.483.6939

Centrum Foundation

P.O. Box 1158

Port Townsend, WA 98368

(P) 360.385.3102 (F) 360.385.2470

Grammy Foundation

3402 Pico Boulevard

Santa Monica, CA 90405

(P) 310.392.3777

grammyfoundation@grammy.com

www.grammy.com/academy/foundation/index.html

Herb Alpert Foundation

1414 Sixth St.

Santa Monica, CA 90401

(P) 310.393.8500

Jazz Heritage Foundation

P.O. Box 19070

Los Angeles, CA 90019

(P) 213.649.2722

Appendix G. Resource Library
85

New Orleans

New Orleans Jazz & Heritage Foundation

1205 N. Rampart St.

New Orleans, LA 70116

(P) 504.522.4786

www.nojhf.org

New York

Jazz Foundation of America

322 W. 48th Street

New York, NY 10036

(P) 800.532.5267/ 212.245.3999

jazzfoundation@rcn.com

www.jazzfoundation.org

Music For Youth Foundation

130 E. 59th Street, Suite 844

New York, NY 10022

(P) 212.836.1320 (F) 212.836.1820

www.musicforyouth.org

Music Performance Trust Funds

MPTF 1501 Broadway

New York, NY 10036

(P) 212.391.3950

www.mptf.org

VH1 Save The Music Foundation

1515 Broadway

New York, NY 10036

(P) 212.846.5364 (F) 212.846.1827

laurie.schopp@vh1staff.com

www.vh1.com

ASSOCIATIONS

National

American Federation of Jazz Societies

P.O. Box 84063

Phoenix, AZ 85071-4063

info@jazzfederation.com

www.jazzfederation.com

American Composers Alliance

73 Spring St. Rm. 505

New York, NY 10023

(P) 212.362.8900 (F) 212.925.6798

info@composers.com

www.composers.com

American Pianists Association

4600 Sunset Ave.

Indianapolis, IN 46208

(P) 317.940.9945 (F) 317.940.9010

apainfo@americanpianists.org

www.americanpianists.org

Boston Jazz Society

P.O. Box 178

Boston, MA 02134

(P) 617.445.2811 (F) 617.445.2811

Cultural Alliance Of Greater Washington

410 Eighth St., NW, Suite 600

Washington, DC 20004

(P) 202.638.2406

Fort Worth Jazz Society

P.O. Box 14533

Fort Worth, TX 76119-3120

Friends of the Arts

P.O. Box 702

Locust Valley, NY 11560

(P) 516.922.0061 (F) 516.922.0770

artsfriend@aol.com

International Association for Jazz Education

2803 Claflin Road, P.O. Box 724

Manhattan, KS 66505-0724

785.776.8744 (F) 785.776.6190

www.iaje.org

Jazz Club of Sarasota, Inc.

330 S. Pineapple Ave., Ste. 111

Sarasota, FL 34236

(P) 813.366.1552

mail@jazzclubsarasota.com

www.jazzclubsarasota.com

Meet the Composer

2112 Broadway, Suite 505

New York, NY 10023

(P) 212.787.3601 (F) 212.787.3745

lklein@meetthecomposer.org

www.meetthecomposer.org
86

Southern Arts Federation

181 14th St., Ste. 400

Atlanta, GA 30309-7603

(P) 404.874.7244 (F) 404.873.2148

josephg@southarts.org

www.southarts.org

Tucson Jazz Society

P.O. Box 1069

Tucson, AZ 85702-1069

(P) 520.903.1265 (F) 520.903.1266

tjsmail@tucsonjazz.org

www.tucsonjazz.org

Western Jazz Presenters Network

P.O. Box 3162

LaJolla, CA 92038

(P) 858.454.5872 

World Music Association

P.O. Box 37725

Honolulu, HI 96837

(P) 808.941.9974 (F) 808.943.0224

Detroit

Southeastern Michigan Jazz Association

2385 W. Huron River Drive

Ann Arbor, MI 48103-2241

(P) 734.662.8514

semja@semja.org

www.semja.org

New Orleans

Jazz Centennial Celebration

628 Frenchman St.

New Orleans, LA 70116

(P) 504.835.5277

jazzcentennial@aol.com

www.louisianamusic.org

Louisiana Division of the Arts

P.O. Box 44247

Baton Rouge, LA 70804

225.342.8180 (F) 225.342.8173

arts@crt.state.la.us

www.crt.state.la.us/arts

Mid American Arts Alliance

912 Baltimore Ave., Suite 700

Kansas City, MO 64105

816.421.1388 (F) 816.421.3918 

National Association Of Composers

P.O. Box 49652

Barrington Station

Los Angeles, CA 90049

(P) 310.541.8213 (F) 310.373.3244

nacusa@music-usa.org

www.music-usa.org/nacusa

National Academy of Recording Arts and Sciences

(NARAS)

3402 Pico Boulevard

Santa Monica, CA 90405

(P) 310.392.3777 (F) 310.392.9262

National Association of School Music Dealers

(NASMD)

4020 McEwen, Ste. 105

Dallas, TX 75244-5019

National Jazz Service Organization

P.O. Box 50152

Washington, DC 20004-0152

Pennsylvania Performing Arts On Tour

1811 Chestnut Street, Suite 301

Philadelphia, PA 19103

(P) 215.496.9424 (F) 215.496.9585

Potomac River Jazz Club

5537 Belle Pond Dr.

Centreville, VA 22020

(P) 703.698.PRJC

prjcweb@prjc.org

www.prjc.org

Recording Industry Association of America (RIAA)

1330 Connecticut Ave. NW, Suite 300

Washington, DC 20036

202.775.0101 (F) 202.775.7253

www.riaa.com

Sedona Jazz on the Rocks

P.O. Box 889

Sedona, AZ 86339-0089

(P) 520.282.1985

lori@sedonajazz.com

www.sedonajazz.com
87

New York

American Society of Composers, Authors &

Publishers (ASCAP)

ASCAP Building

One Lincoln Plaza

New York, NY 10023

(P) 212.621.6000/ 800.95.ASCAP 

info@ascap.com

www.ascap.com

Broadcast Music, Inc. (BMI)

320 W. 57th Street

New York, NY 10019

(P) 212.586.2000 (F) 212.262.2824

jazz@bmi.com

http://bmi.com

Chamber Music America

305 Seventh Ave., 5th Floor

New York, NY 10001-6008

(P) 212.242.2022

info@chamber-music.org

www.chamber-music.org

International Women in Jazz

C.S. 9030

Hicksville, NY 11802-9030

www.internationalwomeninjazz.com

San Francisco

San Jose Jazz Society

P.O. Box 1770

San Jose, CA 95109-1770

(P) 408.288.7557 (F) 408.288.7598

jazzmaster@sanjosejazz.org

www.sanjosejazz.org

SUPPORT SERVICE

ORGANIZATIONS

National

ACIS/ Encore Tours

19 Bay State Road

Boston, MA 02215

(P) 1.877.460.3801 (F) 1.617.236.8623

encoretours@acis.com

www.encoretours.com

Services: Customizing tours for performing artists

Acoustics First

2247 Tomlyn Street

Richmond, VA 23230-3334

(P) 888.765.2900 (F) 804.342.1107

www.acousticsfirst.com

Services: Noise control solutions

American Music Therapy Association

8455 Colesville Road, Suite 1000

Silver Spring, MD 20910

(P) 301.589.3300 (F) 301.589.5175

www.musictherapy.org

Services: Application of music therapy for medical

use

Cleveland Clinic Foundation

Medical Center for the Performing Arts

9500 Euclid Ave.

Cleveland, OH 44106

(P) 216.444.3903

www.clevelandclinic.org

Services: Performing Arts Medicine

Colorado Lawyers for the Arts

P.O. Box 48148

Denver, CO 80204

(P) 303.722.7994

cola@artstozoo.org

Services: Legal Representation

Georgia Volunteer Lawyers for the Arts

Bureau of Cultural Affairs

675 Ponce de Leon Ave.

Atlanta, GA 30308

(P) 404.873.3911

www.gvla.org
88

Texas Accountants and Lawyers for the Arts

1540 Sul Ross

Houston, TX 77006

(P) 713.526.4876 (F) 713.526.1299

info@talarts.org

www.talarts.org

Services: Legal Representation and Accounting

Services

Washington Lawyers for the Arts

1634 Eleventh Ave.

Seattle, WA 98122

(P) 206.328.7053 (F) 206.568.3306

Washington Area Lawyers for the Arts

815 15th St. NW

Washington DC 20005

(F) 202.393.4444

legalservices@thewala.org

www.thewala.org

Services: Legal Representation

Detroit

Legal Aid & Defender Association Of Detroit

645 Griswold St., Suite 2400

Detroit, MI 48226-4201

(P) 313.964.4111 (F) 313.964.1932

www.mlan.net/ladal/

Services: Legal Services

New Orleans

Arts Council Of New Orleans

225 Baronne St. Suite 1712

New Orleans, LA 70112-1712

(P) 504.523.1465 (F) 504.529.2430

www.louisiana-arts.com

Services: Bookkeeping, Planning-Budgeting,

Financial Aid, Career Counseling

Louisiana Volunteer Lawyers For The Arts

1010 Common St., Suite 1500

New Orleans, LA 70112

(P) 504.581.9444

Services: Legal Representation

New Orleans Musicians Clinic

(P) 504.412.1111

www.nojhf.org

Services: Medical Services

International Arts Medicine Association

19 S. 22nd St.

Philadelphia, PA 19103

http://members-aol.com/iamoaorg

Services: Medical Services

Lawyers for the Creative Arts

213 W. Institute Pl., Suite 401

Chicago, IL 60610

(P) 312.649.4111 (F) 312.944.2195

wrattner@law-arts.org

www.law-arts.org

Services: Legal Representation

Music Cares Foundation

3402 Pico Boulevard

Santa Monica, CA 90405

(P) East: 1.877.303.6962 

Central: 1.877.626.2748 

West: 1.800.687.4227 

www.grammy.com/academy/musiccares/index.html

Services: Emergency Relief Funds

National Center On Arts And Aging

National Council on the Aging

600 Maryland Ave., SW, West Wing 100

Washington DC 20024

(P) 202.479.1200

www.center-for-creative-aging.org

Services: Counseling, Publications

Ocean St. Lawyers for the Arts

P.O. Box 19

Saunderstown, RI 02874-0019

dspatt@artslaw.org

www.artslaw.org

Support Services Alliance (SSA)

P.O. Box 130

Schoharie, NY 12157

(P) 518.295.7966

comments@ssainfo.com

www.ssainfo.com

Services: Financial and Medical Services
89

New York

Doctors For Artists

105 W. 78th St.

New York, NY 10024

(P) 212.496.5172

Services: Medical Services

Institute For The Performing Artist

Postgraduate Center For Mental Health

124 E. 28th St.

New York, NY 10016

(P) 212.689.7700 ext. 290, 291

Services: Mental Health Services

Miller Health Care Institute For Performing Artists

St. Luke’s Roosevelt Hospital Center

425 W. 59th St.

New York, NY 10019

(P) 212.523.6200

www.ifpam.org

Services: Medical Services, Performing Arts

Medicine

Musicians Emergency Fund, Inc.

16 E. 64th St.

New York, NY 10021

(P) 212.578.2450

Services: Emergency Funds

Pentacle

104 Franklin St.

New York, NY 10013-2910

(P) 212.226.2000

www.pentacle.org

Services: Financial Services

Performing Arts Center For Health

357 W. 55th St.

New York, NY 10019

(P) 212.247.1650

Services: Medical Services, Dental Services

Volunteer Lawyers For The Arts

1285 Ave. of the Americas, 3rd floor

New York, NY 10019

(P) 212.977.9273

Services: Legal Representation

San Francisco

California Lawyers For The Arts

Fort Mason Center

San Francisco, CA 94123

(P) 415.775.7200

cla@calawyersforthearts.org

www.calawyersforthearts.org

Services: Legal Representation, Contracts,

Copyright, Taxation

Kuumba Jazz Center

320-2 Cedar Street

Santa Cruz, CA 95060

831.427.2227 (F) 831.427.3342

kuumbwa@cruzio.com

www.kuumbwajazz.com

Services: Presenting and Educational services

Rhythmic Concepts, Inc.

765 61st Street

Oakland, CA 94609

(P) 510.287.8880