I definitely agree that those guys can command top dollar (just like names such as Christian McBride, Pat Metheny, etc.), but there are many similarly talented jazz artists playing far less often and for less money. Also, it's not uncommon for accomplished players to be making peanuts (relative to their worth) playing a gig at a small club in February, then make many times that price for a jazz fest gig in a big city in July of the same year.I know exactly the fees of some jazz artists, and i can tell you for example that artists like Robert Glasper, Christian Scott, Ambrose Akinmusire (just to name the first 3 that come to my mind) makes good money.
Glasper for a gig with his band ask something like 15k, while Christian Scott and Ambrose 5k...if they don't live in expensive penthouses over central park to me they're living good
I don't know anything of Pridgen's mentality, however on the issue of salary and jazz artists, nowadays there are not very many (Harry Connick, Wynton, and so on.) that can bring home the bacon playing "jazz." Most world-class players (in Canada) I am aware of who don't play popular music as an afterthought (to make money) play jazz in the nighttimes a couple of evenings seven days if fortunate, yet make the vast majority of their pay through their life partner or by showing private exercises as well as at a school or college.I don't follow him in detail but always thought he made a living mostly as a 'clinician', in a vein to Benny Greb or Jojo Mayer. Also, not everybody is out to work with majors and headliners.
And these days they wouldn't even need to make that compromise. There's no shortage of musicians just as talented as you ready to replace you. Maybe fewer in the jazz scene (I have no idea) but in every popular genre from R&B to country to extreme metal, talent has gone through the roof in quality and quantity.Don't get me wrong, he's an amazing drummer, and some of these anecdotal stories may be exaggerated. But I think most pro-level bands would much rather have a merely "pretty good" drummer who has a pro attitude & work ethic vs an amazing drummer who is difficult to get along with and not always reliable.
Theodore is a very good drummer, but if you think TMV sucked big time with Pridgen...you know nothing about drums. I big fan of both, but Pridgen is and always will be on another level.When he took over the chair in The Mars Volta from Jon Theodore you could hear the egocentricity and lack of maturity in the live jam improvs. They sucked big time. His playing to me is rudiments>brains. Cedric said "replacing Jon Theodore was the dumbest thing we ever did."
Pridgen's performance on the Bedlam In Goliath album is a real masterpiece.Theodore is a very good drummer, but if you think TMV sucked big time with Pridgen...you know nothing about drums. I big fan of both, but Pridgen is and always will be on another level.
Thomas Pridgen seems to have the same issue as Michael Jordan.I haven't followed what Pridgen is up to lately, but I know there was some interpersonal drama when he was in The Mars Volta which eventually lead to his dismissal. According to Juan (TMV bass player), Pridgen just wasn't a mature/professional guy. Apparently there was one incident where Pridgen got drunk after a show and peed all over the tour bus. Pridgen has also badmouthed Cedric (TMV vocalist) to the press and on social media since being kicked out of the band. Plus, there's this: https://www.reddit.com/r/drums/comments/4r7fp1
Don't get me wrong, he's an amazing drummer, and some of these anecdotal stories may be exaggerated. But I think most pro-level bands would much rather have a merely "pretty good" drummer who has a pro attitude & work ethic vs an amazing drummer who is difficult to get along with and not always reliable.