Maybe for AARP or some homeowners associations. Other than that and perhaps SS down the road, I consider it merely a state of mind. I will let you know when I get there.

boo ... ... I do not see what is argumentative about my reply and it certainly wasn't meant to be so ...

I seldom -if ever- argue on this forum ... I was merely stating my surprise that 25 - 30 year olds are getting those type of jobs out there on that planet you live on ...

All of you can get all the gigs you want out here like I said for $50 a pop. One intelligent person agreed it's all about location. They pay $50 here. They pay $50 here. They pay $50 here. They pay $50 here. They pay $50 here. What part of this can't you knuckleheads understand. Out here and most of america the median income is 30 to 40 percent less than area's of New Jersey, Mass a whatever, Maryland. Maybe that has something to do with it. I just bought a 3 bedroom townhouse two baths 1200 Sq Ft for $89,000. Can you do that in New Jersey or Maryland. It was built in 2000. Everything in it is like new. I rent it for $750. It would probably cost $200,000 where Gary lives and would rent for $3000 a month! No? Let's see if this helps put things in perspective.

Boo, I hear ya. And I agree. In my location we have everything from nursing homes, assisted living, independent living facilities who set their own budgets
for entertainment. Some use guys or gals that play for nothing to $50....and get pretty much what they pay for. Others have stepped up to $100 per hr, but
right now that appears to be the top of the tier. Other venues like homeowner associations, fraternal and country clubs are a different animal and pay better....
as long as I don't play Jazz Tunes with 57 chords and augmented minor thirteenths. LOL Just yanking your chain Boo.
Eddie

Eddie I'm sure someone who worked in Hospitals (unless he lied to me) is smart enough to know what I'm saying here. For example: Am I really gonna go through motions of taking a calendar around to retirement centers to book gigs a year in advance and smile and be a super personality for a 25 year old AD who probably won't be there next week maybe for a $50 gig. Hell no!, and neither is any other person on this forum except someone who bought a keyboard recently and has been taking lessons for three months and is chomping at the bit to have an audience. Ha ha

You're wrong,Boo. It's all part of marketing, which makes small business successful. I'll be happy to send you some of my samples.

Gary

Gary you come do it for $50 gigs. I'd rather walk my puppies. You're still not grasping the $50. $50. $50 a gig statement. Go get you glasses old man. A fellow here does Elvis all night and all the other tunes that the general Cowboy walking the street with his Cowgirl likes and he's worked here forever and he can really play what he plays and works the audience and works with band too and he gets $50 for a nursing home. Whoever can't understand this is too? Ha ha

Boo, you just reinforced my statements. That Elvis impersonator is no different than thousands of other Elvis impersonators - they're a dime a dozen out there and here too. They'll work for chump change, and the only thing they can do is Elvis impersonations. No diversity, and if you're not an Elvis fan, well, that would get old pretty damned quick.

When I was in the Florida Keys, there were hundreds of have guitar will travel guys. Every damned one of them had a grungy looking, straw, cowboy hat, a beat up guitar they probably got from a pawn shop, a lousy PA system and dozens of 3-ring loose-leaf binders filled with lyrics. They worked, on average, about 3 days a week, and rarely more than once or twice at the same location. They were paid $50 a night plus tips, which on a good night for them, was another $30.

I was told by several people that $50 to $75 a night was the going rate and it was impossible to get more. I put an advertising package together, which included a CD, went to the most expensive place on the island, and presented it to the activities coordinator. We talked for about 10 minutes, she said she would listen to the CD on her lunch break and get back to me. She called the following day, Tuesday, asked if I could go to work Friday night from 6 till 9, and how much I charged. I told her that I would do the job for $200. She hesitated for a second, then said, that would be fine and she would throw in an extra $50 meal credit. After that first night she called and asked if I would be available every Friday night at that price. The audiences loved everything I did, so did the staff at the restaurant/bar and they were saddened when I had to leave to come back north. One waiter, Oscar, gave me a hug and said if you ever come back we will have a job waiting for you. Oscar told Carol on that last night I was there that he made five times more money in tips the nights I performed than he made on nights where the other entertainers were there.

Boo, marketing is a major component of this business. Sure, you can get a few jobs, but as you have experienced, they're infrequent, and often low paying. Do you think that any top entertainer would take less money for providing a performance in a different market area? Of course not! There is no difference in this business. There are still people in my part of the world that only get paid $50 to $75 for working the same locations where I'm pulling down $125 to $150 an hour. And, they're only booked a few times a year, while I'm booked monthly and in some instances, weekly, at the same locations.

There are other key components as well. For the first 10 years of being an OMB performer, I worked in upscale restaurants both in Baltimore's Little Italy and locations outside the Baltimore metropolitan area. I always wore a tuxedo on those jobs, which back then was just 3 nights a week. I constantly got positive comments from the management, staff and audiences on my appearance. When I switched to the NH circuit, I went from a tux to satin shirts, matching tie, black slacks, shiny black shoes and a fancy silk vest. One of the ADs said to me "You are the best dressed entertainer that ever walked through the door here. You really look great and the residents tell me that all the time as well." During the summer months, I wear guyabera shirts instead of long sleeve satin shirts and a tie. Again, this is all part of the marketing, and another reason I command a higher pay scale. I've seen lots of performers that looked like they slept in their clothes or just came from a construction job. They looked anything but professional.

Music selection plays key role as well. Many years ago, DNJ said to me "Never play a song that you cannot dance to." He was right on the money! I don't play the songs you cannot dance to, because those songs do not stimulate the audiences. And, if you are not stimulating that audience, you quickly lose that audience. It ain't rocket science. If, however, you captivate that audience with your music and vocals, interact with them, that is frequently noticed by the ADs, staffers, visitors, and of course the residents. This too allows you to command a higher pay scale then some guy who thinks he's Elvis and plays a mean guitar.

Boo, the cost of housing may be slightly lower in your part of the world, but the cost of everything else is about the same as it is here. Groceries, cars, medications, etc..., are priced about the same throughout the nation. I've lived in the Pacific Northwest, Texas, Florida, and traveled by car through nearly half the states and for the most part, the cost of living only varies in the cost of housing. You're not going to pay any less for a new pickup truck in Colorado then you do in NYC or LA. So, why would you expect to be paid less for your musical entertainment?

All the best,

Gary

I won't do it often, but I have to disagree with Don this time.

The market for jazz is "small but mighty". Think of every music school in the nation. Jazz, or at least jazz rotations are at the heart of most of the programs. Music graduates are well-schooled in jazz and end up scattered around the performing and recording universe.

Snarky Puppy, Pomplamoose, Leann La Havas, Esmiralda Spaulding (SP)Dave Grusen, George Benson, Foreplay, Dave Coz...Bob James...the list of people writing performing and recording modern jazz is impressive, extensive and significant.

The Java Jazz fest and others in Europe and Asia draw 100,000 plus audiences,

Consider traditional (what you're talking about), Fusion, modern and experimental) jazz formats.

Jazz is an acquired taste. It's what I do. It takes compromise. I play in a dining room quiet enough not to interrupt a conversation.

But I work...philharmonic jobs, cocktail hours for government offices...corporate events...industrial recordings....as much as I can at my age.

Believe me, jazz is alive, vibrant and a real part of the American and universal music culture.


You just have to work longer and harder at it; sometimes for less money.


I wouldn't have it any other way.


Russ