As an art form, jazz is primarily focused on unique live performances; the dominance of performance fees in this study reinforces that. And in the specific breakdown of what types of gigs the musician is accepting, there is a good picture of who is funding performances these days, whether concert halls, festivals or clubs, and how it is possible to earn money from writing original music. And of course, it gives us one image of how it is possible to be a working jazz musician and make a living.
At the same time, it reveals the need for a fuller picture. Most jazz musicians are not as well-known or successful as this one. (The report does not name the musician, but gives pertinent details about his career profile.) Many perform more as standards-playing sidemen than as composer-bandleaders. Many don't have a manager, booking agent and record deal to their names, as this man does. Many don't get the opportunity to tour Europe; many don't even play often enough to earn the majority of their incomes on stage. For many, teaching or studio work represents a much bigger chunk of income. Others pay the rent for non-music day jobs. Some are better established; others are just starting out. But when asked, these folks would identify themselves as jazz musicians.