The Music and Musicians of the Mississippi Riverboat

circa 1901-1931
John DePaola

JOHN DEPAOLA Techniques of Research in Music and Music Education Dr. Sang-Hie Lee, Professor

THE SIGNIFICANCE OF THE MUSIC AND MUSICIANS OF THE MISSISSIPPI RIVERBOAT CIRCA 1901-1931

The Mississippi Steamboat enjoyed its second highly profitable and famous tenure on the river as an excursion adventure between 1901 and 1940. The old Package Boat was transformed into a floating Ballroom that featured live music for dancing every day of the week. This successful entertainment venture enjoyed widespread popularity along the Mississippi and Ohio Rivers for more than 40 years. It employed hundreds of musicians seen and heard by countless tourists from cities all over the Mississippi and Ohio Rivers. The music and musicians on board traveled as far south as New Orleans and reached northward to St Louis and even farther, to Davenport, Iowa and Pittsburgh, PA. The significance of this venture is already imbedded into the history and culture of the cities along the great Mississippi, and its importance is illustrated in abundant literature that provides first hand accounts from some of the famous and not-sofamous musicians who served their time on the River.

THE PURPOSE OF THIS STUDY

The purpose of this study is to uncover any musical, or social advancement (or impacts) made by the musicians who performed on the Mississippi riverboat excursions between the years 1901-1931.

CONTEXT: THE DAWN OF A NEW CENTURY IN THE OLD SOUTH

In the early part of the twentieth century, racial tensions were prevalent in the south caused by Jim Crow policies still in practice. Race riots had erupted in St. Louis in 1917, and the socio- economic situation for most African-Americans in the southern United States was not improving. Word of new jobs in the north spread and triggered the Great Migration from south to north. African- Americans were on the move northward in hopes of finding better jobs. White people rooted in the south knew that times had changed and the Old South would never rise again. It was against this backdrop of social change that the Streckfus riverboats capitalized on the nostalgia of earlier times romanticized by novelist Mark Twain. The newly remolded steamboats on the Streckfus Line looked like the elegant plantation mansions of the old south, with white pillars and ornate white railing around the upper decks. The Streckfus Riverboats introduced something unheard of at this time. They featured all African-American dance orchestras to play for white paying customers in public view. Did this change the way white people viewed AfricanAmerican people? If so, what were these implications or changes? Were there any other social implications or advancements? What about the music? The musicians? Were there any musical advances made? If so, what kind of musical advances were made? Did the musicians make any changes? How did the musicians benefit from this long-standing engagement? What about the audiences? How did they benefit from the music or musicians? To answer these questions we must begin from the point of departure of this new venture. The Streckfus Steamboat is forever intertwined with the culture and history

of the Mississippi River. What now follows, is a brief summary of how the riverboat started a new career with the first steamship built solely for entertainment purposes

A LEGACY OF MUSIC ON THE MISSISSIPPI RIVER

According to Chevan (1989), John Streckfus Sr. founded the Acme Packet Company in 1884. He had a small fleet of packet boats that shipped freight and passengers along the Mississippi in the Quad Cities area, maintaining the company office in Rock Island, Illinois. Streckfus actually purchased his first riverboat in 1880. Kenney (2005) tells us that the vessel was a side-wheeler named Freddie that made her first runs delivering produce and a few passengers to and from small towns. Bigger and faster boats like the Verne Swain and the City of Winona were to follow. Kenny (2005) informed us that at the turn of the century, Streckfus placed an order for a thirty-seven-whistle calliope to be installed on the City of Winona. Calliope favorites like Turkey in the Straw or My old Kentucky Home could be heard from miles away, so it was guaranteed to get peoples attention. Further research is needed to know the particulars of the early trips, but one thing is apparent Streckfus thought that the music would attract customers to the river. The calliope aboard the Winona must have been a success in attracting customers because one year later, in 1901, Streckfus placed an order for a brand new modified packet boat that was designed to carry sightseers and excursionists rather than produce and overnight passengers (Kenny, 2005, p.16). He was planning to take his new steamship up and down the river for short trips during the day and night. Daytrips could past the time pleasantly for

families, children, ladies and social clubs. Night trips would become romantic moonlight cruises for couples and singles too. According to Kenny (2005), Streckfus paid twenty five thousand dollars for a palatial excursion boat that could hold up to two thousand passengers and boasted a polished maple dance floor (100 x 27 ft) on which passengers could dance and flirt with water-borne dreams of adventure (p.17). This new superstructure looked much like the old packet boat but was significantly altered to create open spaces and elegant surroundings in which passengers could move freely and reminisce in a nostalgic setting. Streckfus proudly named his new ship the J.S.. The maiden voyage of this ship launched a new era of music and entertainment on the Mississippi River. The year 1907 marks the hiring of pianist and bandleader Fate Marable, who became the primary musician associated with the Mississippi Riverboat and the Streckfus Family. He continued as a caliopist, pianist and bandleader on the Streckfus Line until his retirement in 1940. Marables name has become synonymous with music and the Mississippi Steamboat. The vast majority of literature on riverboat music and musicians c makes reference to this famous, respected, and infamous bandleader. Marable was born in Paducah, Kentucky in 1890. Little is known about his parents at his time. According to Owsley (2006), Baby Dodds (Marbles most widely know drummer) describes the African American Marable as having a light complexion and red hair. In another interview, Kenny (2005) concluded that it is almost certain that Marbles light complexion and red hair were an asset in a time period and geographical region that was painfully sensitive to skin color. Kenny (2005) revealed that in 1903, an African-American pianist named Charlie Mills was hired to play with an all white band aboard the J.S. In 1907

Marable was hired to replace Mills, who had been in the unique position as an AfricanAmerican man leading a group of white musicians. This is the first documented evidence of Fate Marable as a bandleader on the Streckfus Steamboat Line. Chevan (1989) further explained that Fate began his career as a leader of a piano and violin duo with white violinist Emil Flindt. Kenny (2005) noted that the group added one white musician each season until Marable became the African-American leader of an all white quartet that included cornet, trombone, and violin. Little has been written about the existence or significance of this interracial band. However it is important to point out that that the existence of a racially integrated orchestra aboard the J.S. between 1907 and 1910 would not be repeated until the end of World War II (Kenny, 2005). In 1910 the J.S. caught fire and burned to the waterline, and afterwards, there is no further record of any racially integrated bands aboard the Streckfus Steamboats for the remainder of Marables tenure as a bandleader. After the burning of the J.S. in 1910, Fate travelled with other groups and continued to work for the Streckfus Line around New Orleans and also St. Louis, which had become the headquarters for the company after the acquisition of the Eagle Line. At this time, jazz music was becoming increasingly popular. An all-white group named The Original Dixieland Jazz Band enjoyed widespread popularity and sold many records. Collier (1983) informed us that in response to the popularity of this group, Marable decided to put together his own jazz band for the Streckfus Line. In 1910 he put together a new band comprised of musicians that were all from his home of Paducah, Kentucky and named it the Kentucky Jazz Band. Collier (1983) contended that this band was a direct copy of the Original Dixieland Jazz Band, however, it did not have the same jazz feel. Marable was well acquainted with the new music called hot jazz that they were playing in the dance

halls in New Orleans and most likely reasoned that it would be beneficial to somehow capitalize on this new phenomenon. Marable is also quoted as saying that his Kentucky Jazz Band could not compare with the New Orleans Boys (Collier, 1983, p.77). After one season on the river with this orchestra, Marable was sent back to St Louis, perhaps to help the Streckfus family with the takeover of the floundering Eagle Packet Line. A few years later in 1918, Marable came as close as he ever would to leading an authentic jazz band. The Streckfus Bros. gave him permission to put together an all African-American band from New Orleans that had mix of jazz musicians and other instrumentalists that could read and play straight dance music. Collier (1983) suggested that Marable wanted a standard dance band with a new jazz feel. Anderson (1994) also informed us that Fate Marable and Captain John Streckfus began to recruit musicians from New Orleans during the 1918-1919-winter season. They premiered their new group in the summer of 1919 aboard the steamer St. Paul with an expanded crew of nine musicians that included drummer Baby Dodds, and shortly thereafter would add a young trumpet sensation by the name of Louis Armstrong. Marable named this new group the Metropolitan Jazz-E-Saz Orchestra. It was the first exclusively African American orchestra of this size aboard the Streckfus Line and it contributed to the policy of using African-American groups on the riverboats from the New Orleans and St Louis area. According to Kenny (2005) this marked a new era in riverboat music. AfricanAmericans were now seen as skilled professionals on the riverboats. Whites were accustomed to seeing African-Americans in roles that involved manual labor like the roustabouts, who loaded and unloaded cargo from the dock on the lower deck of the ship. Kenny (2005) also remarked that the appearance of African-Americans on the upper deck in a dignified manner while playing instruments signaled a re-ordering of the social structure

(p.54). Louis Armstrong states that Fate Marable and his all African-American orchestra deserve credit for breaking down a few barriers on the Mississippi barriers set up by Jim Crow (Armstrong, 1986, p.189). The existence of the all African-American Orchestra under Marable signaled a change in the social hierarchy aboard the riverboat. An all AfricanAmerican orchestra dressed in tuxedos and playing fine dance music must have been shocking for some white customers at this time, however, there is no evidence or record of any significant disturbance or newsworthy event. In years past, white customers were used to seeing African -Americans on the lower deck, dressed in overhauls, loading cargo. It seems that the supervised and orderly environment of a riverboat vessel was the perfect place for a social barrier to be broken. New Orleans became the winter home of at least 4 different steamships owned by the Streckfus brothers between 1918 and 1923. Photos of Louis Armstrong place him on at least 3 different riverboats based out of New Orleans during his tenure with the Streckfus Line between 1919 and 1921. They include the S.S. St Paul, the Sidney, and the Capitol. These riverboats tramped in New Orleans during the winter months because the weather was mild and perfectly suited for tourism on the river. Riverboats typically could tramp up and down the river by day and do night cruises later on. The years between 1919 and 1921 are the most famous and documented times in Streckfus steamboat history. This is due to the fact that these were the same years that the young Louis Armstrong tramped up and down the Mississippi with the Streckfus line under the baton of Fate Marable. Anderson (1994) noted that Marable first heard Louis Armstrong playing with the Kid Ory band at Co-operative hall in New Orleans and knew immediately that he wanted the brilliant young jazz improviser in his band. Armstrong (1971) said that he was hired to replace Joe Oliver in Kid Orys band in

1918 and not long afterwards, he was offered a better paying job with Fate Marable on the Streckfus Line. At this time, opportunities for career and social advancement among African-American musicians in New Orleans were scarce. In 1917 the United States Navy shut down the district known as Storyville, where many musicians worked, which is also considered by many historians as the birthplace of jazz. Armstrong (1971) agreed that getting a job on the riverboat was a rare opportunity and he stated that when Fate Marable asked him to work on the Sidney in the summer of 1919 he jumped at the opportunity. It meant a great advancement in my musical career because his (Marable) musicians had to read music perfectly (p.181). Armstrong clearly believed that going to work for Fate Marable on the Streckfus Line was a chance to do all the things that he wanted to do (p.185). Owsley (2006) remarked that Marable led what musicians in New Orleans called the music conservatory (p.17) on the Mississippi. Drummer Zutty Singleton also states that jobbing with Marable was like going to the conservatorybecause Fate was such a fine musician and the men who worked with him had to be really good (Shapiro, N., & Hentoff, N. p.76). Chevan (1989) explained that musicians in New Orleans liked to refer to Marables orchestra in this way because all the players in his orchestra were expected to attend 1 - 2 hour rehearsals daily, where they would be expected to read and play music up to the high standards set by the Streckfus Family. Reading music was essential to the success of any musician that worked for Fate Marable at this time. Any musician who didnt read music at the time of his hiring would be forced to learn to read well enough to execute his parts flawlessly night after night. Bassist Pops Foster remarks, The Streckfus people made musicians out of a whole lot of guys that way. Louis Armstrong, Johnny St. Cyrr, and I

didnt know nothin about readin when we went on the boats, but we did when we came off. Thats what started us off (Owsley, D. 2006, p.19). It certainly appears that the job under Marables baton sharpened many musicians reading skills. A review of the literature also reveals that the Streckfus brothers were very involved in all the aspects of the music and musicians aboard, particularly Captain Joe Streckfus, the eldest son of John Streckfus Sr. In an interview with banjoist-leader Clarence Elder, Anderson (1994) relates that Captain Joe Streckfus was present for most of the rehearsals and would tap his feet while looking at his watch to make sure the tempo of each tune was exact. He insisted on 70 beats per minute for fox trots and 90 beats per minute for one steps. Elder also related that Captain Joe had an uncanny sense of values (p.30) when it came to evaluating a musicians performance and also the audience response to the overall product. The overall product that Streckfus wanted was directly communicated to Marable and his musicians at these daily rehearsals. After continued rehearsals, Marable and his orchestra produced polished dance music that was played at the proper tempos designated by Captain Joe Streckfus. Accounts by Louis Armstrong and Baby Dodds noted that Marables group played only from written arrangements. In an interview with Baby Dodds, Owsley (2006) informed us that the band played strictly by music (p.19). Verne Streckfus is also quoted as saying that the bands played stock arrangements, music as it was published (p.18). This would strongly suggest that Armstrongs unit did not embellish or make up any of the music. Trumpeter Norman Mason, who played in the group from New Orleans with Louis Armstrong aboard the Sydney and other Streckfus boats, offers a slightly different view on the matter. Mason joined the New Orleans unit with Louis Armstrong in 1919 on a northward summer excursion to Davenport, Iowa. He contends that in addition to using stock dance

band arrangements, the Marable band would abandon written music and make up head arrangements of popular ragtime tunes and would also fake other tunes like Sugar Foot Stomp and Dippermouth Blues, which was coined using a nickname given to Louis Armstrong in New Orleans (Oldaeus, P. 2007). This seems to be the most complete version of what music was like on the Streckfus Riverboats. Popular new ragtime numbers and other popular songs might not always be readily available in print so it would be likely to assume that in order to keep the dancers happy, the riverboat orchestras would try to offer the latest popular tunes, even if it meant faking a head arrangement with no music. The jazz musicians from New Orleans were very good at picking music by ear. The nature of the jazz music they were playing down in the District demanded it. At this time, improvised music was commonplace in the Storyville saloons and bordellos. It is unclear as to how much improvised hot jazz was played on the Streckfus Line between 1901 and 1940. Most accounts by the musicians that played on these boats downplay any notion that real jazz was played on the riverboats. Considering how closely the Streckfus Brothers monitored the bands and the music, it would be hard to believe that any one would be allowed to play improvised solos for any significant length of time. The set list, tempo, and selection of tunes were too structured to allow the band enough freedom to play real hot jazz or any of the slower blues forms they were using in the clubs down in New Orleans, however, it would seem almost certain that musicians from New Orleans would add their own style nuance and interpretation to the dance music put in front of them nightly. Anderson (1994) suggested that the hot musicians from New Orleans found a way to flavor the dance music with their own brand of spice even if Marable strictly supervised the format and structure of the music.

The flavoring or stylizing of this dance music was also described by Captain Joe Streckfus, who was piloting the Sidney with Marable and Louis Armstrong in his employ. In Anderson (1994), Captain Joe recounted how he strived to get Marable and the band to play a dance number to his liking. While docked in New Orleans he went to the Orpheum Opera House to see Johnny Dedroits band. He felt that the beat was so predominant and the dancers were so engaged that he looked at his watch to find the tempo and jotted the tune titles. At rehearsal the next day Streckfus told Marable that they were playing too fast for the New Orleans dancers. After much tribulation Louis admitted to Streckfus that he had played it slower and put in a little swing, and they did like it. Streckfus states that it was Louis Armstrongs ability to play the syncopation at the slower tempo that lead the band. From that point on Streckfus said that his band put out the best dance music ever (p.14). Even though there wasnt much jazz improvisation in Marables band, the essence and nuance of jazz style and syncopation from New Orleans found its way into the music. Marable had little sympathy for anyone who did not live up to his standards. Drinking or smoking on the bandstand was strictly forbidden. Havens (1988) noted that Marable wanted musicians to conduct themselves in an orderly fashion on and off the bandstand. His antics in dealing with musicians who didnt meet his expectations are legendary. Even though he was sometimes cruel in his methods, Havens (1988) also remarked that it was Marables insistence on musical quality helped African-American musicians to dominate the bandstands on the Streckfus boats for nearly two decades. It should be noted that popularity of the first group and the continued success of subsequent African American groups on the Streckfus Line were due in large part to the efforts of Marable, the musicians, and also to the Streckfus Brothers attitude towards the music and musicians aboard. Another factor may have been

the difference in the pay scale between white and black groups at this time. Jim Crow laws were still in effect and Kenny (2005) points out that white musicians at this time had owned all the better paying jobs and did not mind throwing the riverboat jobs to lesser paid black musicians and their local union. However, Owsley (2006) indicates that in St Louis a few years earlier in 1896, the American Federation of Musicians reports that the minimum number of musicians per job and the wage scale were the same for both the white and lack unions, with the only difference being in the type of job that each local would handle. Further research is needed to compare the salaries of white and black musicians in different regions. Whatever the case, it is evident that the pay rate on the riverboats in the early 1900s was very attractive to African-American musicians from New Orleans. Gene Anderson (1990) noted that a typical parade gig in New Orleans would last from 8am to 4 pm and pay $3.00, while a night job down in the district paid less, between $1.50 and $2.00 a night. The pay rate on the riverboat was considerably more at $35.00 per week. Teachout (2009) points out that Louis Armstrong received $37.50 a week plus room and board and also a weekly bonus of $5.00 that was paid at the end of the cruise. Armstrong (1954) stated in his autobiography that he was also given an advance on his salary. That was something that had never happened to me before. The only advance money we ever got in those days was the deposits on gigs we used to play (186). In addition to the attractive salary, some musicians were able to use the riverboat job as a stepping-stone in an upward career path. Veteran riverboat trumpeter Tony Catalano contended that the riverboats were responsible for the start of many a famous musician such as Louis Armstrong, Joe (King) Oliver, the Dodds brothers and more (Shapiro, N. & Hentoff, N., 1955, 76).

After Louis Armstrong and Baby Dodds left the riverboat in 1921 Marable started using more musicians from the St Louis area. Chevan (1989) explained that there was a strong German Brass Band tradition in St Louis. Young African-American brass players could play in several brass bands sponsored by local African-American lodges, placing more emphasis on reading music than their counterparts in New Orleans. Chevan (1989) also noted that there were several skilled teachers in the area. This may have contributed to the tradition of great trumpet players that is associated with St. Louis. Owsley (2006) suggested that the strong German tradition influenced brass players all over the Midwest and further north to Davenport, Iowa, home of the legendary trumpeter Bix Beiderbecke. Some famous St Louis born trumpeters are Miles Davis, Lester Bowie, Clark Terry, Charles Creath, and Dewey Jackson. Trumpeter Charlie Creath became known for a cup-muted style similar to Papa Joe Oliver. He was very well known as a jazz pioneer in St Louis, leading his own band named Creaths Jazz-O-Maniacs. Creath caught the attention of the Streckfus Line when he teamed up with African-American promoter Jesse Johnson, who had been promoting cruises for African-Americans on the Grey Eagle since 1916. The Streckfus Line did not advertise any such cruises until much later. Johnson successfully continued to promote African-American Cruises on the Liberty, the Pilgrim, and the Majestic, who were small competitors to the Streckfus Line. Kenny (2005) reported that in 1920, Johnson and Creath worked together on the Majestic and broke attendance records for their Monday night African-American cruises and continued successfully until 1922 when the Majestic burned during at its winter home on the Illinois River. Later that year Johnson and Creath both found themselves working for the Streckfus Line promoting Monday night segregated cruises. Johnson became prominent in

the African-American Community as a promoter of social events on the riverboats and also around St Louis. He successfully managed to bring Louis Armstrong back to the St. Paul for a 2-night engagement as a featured headliner in 1928. He also is credited with bringing Cab Calloway, Duke Ellington and other jazz greats to St. Louis for engagements (Chevan, D. 1989). The Streckfus Steamship Line continued the practice of segregation on their riverboats until 1969, when integration was imposed by federal court order. After a successful collaboration with Jesse Johnson between 1920 -1922, Creath continued to lead bands for the Streckfus Line until he moved to Chicago in 1936. Chevan (1989) noted that the Streckfus Family remained vigilant with all the bandleaders in their demand for a polished product, and so Creath was also known as a strict and demanding bandleader. Trumpeter Vertna Saunders recalls that Creath had the trumpet parts full of technically demanding passages and would not accept anything less than perfection (p.94). St Louis trumpeter Dewey Jackson worked for Creath on the J.S. in 1919, and then led his own band called the Golden Melody Band from 1920 to 1923, and later returned to work for Creath on the S.S Capital in 1924 and Marable on the Streckfus Line and would continue to lead his own bands on and off the riverboats until 1941. After the Jazz-E-Saz orchestra with Louis Armstrong and Baby Dodds, Marable continued his success on Streckfus Line with another group he named the Cotton Pickers. Charlie Creath and Dewey Jackson both played trumpet for Marable at different times during the twenties and thirties and led their own groups aboard the Streckfus Line. Pianist Eddie Johnson collaborated with promoter Jesse Johnson on the Monday night cruises aboard the St. Paul in 1929, leading a band called the Crackerjacks.

Havens (1988) may have been over- zealous in stating that African-Americans had for most part exclusively dominated the bandstands on the Streckfus boats for nearly two decades (p.55). Chevan (1989) contended that there was a fairly equal division of work between African-American and white bands prior to 1934 (p.170). The year 1934 marked a difficult year for local # 44, the African-American Musicians union in St Louis. Local 44 had worked out an agreement with the Streckfus line to put four African-American orchestras on four different riverboats. The white musicians union in St Louis, local # 2, protested against this agreement. The Streckfus line gave in to the demands of local #2 and reached an agreement to place 3 white bands and 1 African-American band aboard the 4 steamships It should be noted that starting from Marables hiring in 1907, the size of the orchestras aboard the riverboats seemed to grow. Kenny (2005) informed us that Marables group increased by one member every year until it was a quartet. An unidentified photo of Marable in 1916 on the deck of another supposed Streckfus boat shows him clearly as the AfricanAmerican leader of five white musicians in a sextet that featured cornet, trombone, 2 violinists, and a drummer. There are no known photos of the next band he organized in 1917 called the Kentucky Jazz Band. No information is found yet on the size of this group. The famous group he formed from New Orleans that included Louis Armstrong expanded to nine members, with the instrumentation consisting of 2 trumpets, trombone, mellophone, clarinet, piano, banjo, bass, and drums. Much later in 1939, Marable was photographed as leader of an 11-piece outfit. Bandleader Walter Pichon, who worked for the Streckfus line between 1931 1941, was also photographed as leader of 10 musicians aboard the S.S. Captial. Growing numbers of musicians aboard the riverboats between these years coincide with the publics

growing fondness for big bands towards the middle 1930s and early 1940s. One particular group in the mid thirties that Owsley (2006) noted is a group that was co-led by Dewey Jackson, Charles Creath, and Fate Marable on a run up the Ohio River all the way to Pittsburgh P.A. Little else is known about this band or how the co-leader arrangement worked. The Years 1931-1941 aboard the riverboats mark the height and eventual decline of the Streckfus Line. Further literature is required to expand the scope of this study.

SUMMARY

The impacts or advancements made by the music and musicians aboard the Mississippi Riverboat can be narrowed to those on the Streckfus Steamer Line. The steady employment for musicians on these boats provided a considerable increase in wages for African-American musicians at this time. The increase in wages for African -American musicians contributed to their socio-economic advancement. The controlled environment of the riverboat and the atmosphere created by these excursions encouraged white southerners to permit themselves to relax and enjoy dancing and listening to an all African-American orchestra. Music aboard the riverboats was polished and precise. It was specifically programmed to appeal to dancers and continuously evolved according to the changing tastes of the paying public. The music and the musicians aboard the Streckfus Steamer Line had a positive effect on the selfefficacy and social advancement of African-Americans living in this region and also contributed to the breaking down of some Jim Crow attitudes of the day.

CONCLUSIONS

Any new developments or advances in the actual music aboard the Mississippi cannot be seen at this time, however, it is certain that the music was stylized and interpreted by African American jazz musicians in their own unique way. They flavored the written and unwritten musical arrangements with a hot jazz syncopated feel that permeated the saloon and dance halls of New Orleans at this time. The structure of the arrangements and the detailed planning allowed little freedom for improvisation or advancements in composition. However, advancements or contributions made by the musicians can be seen in several different ways. Fate Marables conservatory on the river increased the music literacy of any musician fortunate enough to be hired into the orchestra. Many musicians just like Louis Armstrong learned how to read music during their time on Marables band. They advanced their ability to read and interpret music with accuracy and detail that was highly sought after in the world of professional music. African American musicians on the riverboats were expected to conform to a high measure of professionalism and decorum, and in turn, were treated by the Streckfus Line as professional musicians that deserved credit for the job they performed very well. This can be viewed as a change in social structure and a significant social advancement for African Americans at this time. The Streckfus Steamboat Line became a stepping- stone in the upward career paths of Jazz Greats like Louis Armstrong, Joe Oliver, and Clark Terry. The Marable Orchestra granted further exposure and popularization of these musicians by presenting them in a dignified manner, as professionals capable of providing the best dance music available.

MY RESEARCH DESIGN

This initial study was performed using a historical research design that assembled quantitative data or known facts in chronological order from the beginning of the riverboat excursion business in 1901 until the year 1931. Qualitative data such as historical perspectives, insights and opinions were gathered in the same chronological order of events. Most of the data detailed the history of the Streckfus Steamship Line, which dominated the riverboat excursion business on the Mississippi River during this time period. A thorough review of the available literature on this topic divided the research into the study of music, people, culture, and societal change. My sources included books, newspaper articles, journals, and published interviews. My intention was to identify and explain the influence of significant historical events by doing a critical analysis of the available data.

THE IMPACT AND SIGNIFICANCE OF THIS RESEARCH

A study of the history surrounding the music and musicians of the Mississippi riverboat revealed changes in social structure and riverboat culture. It noted advancements in the musicians expertise and performance levels and also the artistic level of the music that was performed. The riverboat provided entertainment and an opportunity for white southerners and African-Americans to be seen together in the same social situation in public view. This furthered the cause of racial equality in the Old South by showing that African-Americans could have a valued and legitimate role in society as

professionals that deserved to be compensated accordingly. The findings in this project helped to formulate this HYPOTHESIS:

It should be noted that the years 1930-1940 require further research. These years mark the height and the downfall of the Streckfus Steamer Line. By the year 1940 the Streckfus Fleet was downsized to only 2 vessels. Fate Marable retired soon after in 1941. Most of the history of the Music on the Mississippi between 1931- 2012 can be found in newspaper articles, magazine stories, and the personal remains of the Streckfus Family. Music on the river still continues today with the return of the American Queen set for summer 2012. Any future research on musical entertainment on the Mississippi riverboat should be historical in nature and might evolve to include an ethnographic study of current events. It should commence from a point of departure near St. Louis M.O. in the year 1931 and unfold to cover the remaining years of music on the river or its absence as well.

FUTURE RESEARCH MUSIC AND MUSICIANS OF THE MISSISSIPPI RIVERBOAT CIRCA 1931-2012

The targeted subject area of future research will be the music and musicians of the Mississippi riverboat circa 1931-2012. This will be a qualitative study of historic events that will involve empirical data collection and then a review and critical analysis of all the data collected. It would also be possible to expand the focus into ethnomusicology as the data collection progresses towards the present day. My hypotheses states societys need for entertainment serves as a catalyst for artistic advancement which fosters social change. In order to prove or disprove this theory, any future study must be completely thorough in the collection of all the data pertaining to the remaining years of the Streckfus Line. After the data is gathered, a critical analysis will be performed to identify key events and their significance. The circumstances and personal view points of these key events will be subject to further analysis to reveal any causal or dependant relationships. These can then be examined within the confines of the hypotheses to arrive at conclusions that either prove or disprove it. While the early 1930s remained strong years for the Streckfus Line, and there is record of larger orchestras aboard, there is also an overtone of hard times in the existing literature due to the Great Depression which lasted until the early 1940s. Some records also indicate that, in order to cope with the economic challenges of the 1930s, The Streckfus line reduced the number of excursions significantly in the lower Mississippi region and concentrated more on establishing summer routes around St. Louis and northward towards Davenport, Iowa, and eastward on the Ohio river towards Pittsburgh.

It should also be noted that in 1934 the Streckfus Line acquiesced to the white musicians union local from St. Louis by adding more white groups than African-American groups aboard the Steamer Line, which was a significant change in the social landscape of the riverboat at this point in time. Even with the change in hiring practices aboard the Streckfus Line, African American bandleaders and orchestras continued to thrive on the riverboat until its eventual downsizing. Some bandleaders of note to include in the study should be trumpeters Charles Creath, and Dewey Jackson (both from St. Louis). Other orchestras that played on the Streckfus Line are the Jeter-Pillars orchestra, the Crackerjack Jazz Band, Tony Catalanos band, and a large group lead by pianist Walter Fats Pichon, who was a protg of the legendary Fats Waller. Jesse Johnson, the promoter of many African-American Monday nights aboard the Mississippi riverboats should also be included in this study. His contribution to societal progress of African-Americans in St Louis is linked to the legacy of music and entertainment on the riverboat during the early 1920s. The remaining years between 1941 and 2012 will be the most difficult. As the study moves forward from 1931, information about the Streckfus Line runs dry. After 1941 the fleet was downsized considerably. The remainder of the Streckfus Line became separated due to a family dispute between the elder Joe Streckfus, who lived in the company headquarters in St. Louis and was the CEO, and his younger brother Verne, who took care of the family business in New Orleans. Rumor suggested that the company actually split up into 2 different lines operated by 2 different Streckfus Brothers. An inquiry and eventual audit by the Internal Revenue Service furthered the demise of the Streckfus Line considerably in the early 1940s.

TIMELINE AND BUDGET A determination of the time line and budget of this study will be outlined. It should be mentioned that data collection is becoming increasingly easier due to the progress being made in the literary community in organizing and setting up data bases that share information. Every day, the academic community is making advances in network compatibility and information sharing, as scholars and researchers seek to communicate with each other more effectively. This being said, it would be wise at to establish a time frame for data collection that does not involve travel expense, or even leaving the comfort of ones own home. It would be better to establish a budget that allows for a certain number of work hours collecting data via the web before any real field work is necessary or attempted. This will be included as the initial phase of this study

PHASE 1: PRELIMINARY DATA COLLECTION The preliminary data collection work can be done via the web. It will include a complete review of all music trade journals, periodicals and magazine stories. Newspaper articles can be searched on the web as well, but results will vary according to the availability of electronic information. Newspapers of the city ports along the Mississippi and Ohio River need to be examined. Major cities will include St. Louis, New Orleans, Memphis, Davenport, Cincinnati, Louisville, and Pittsburgh. ESTIMATED TIME FOR PHASE 1= 3 WEEKS

BUDGET: $900.00 - based on the pay rate of $ 7.50 per hour, 8 hours a day, 5 days a week for three weeks. This will cover living expenses for three weeks. (Minimum wage at this time is 7.50 per hour).

PHASE 2: FIELD WORK

LOCATIONS: ST LOUIS, NEW ORLEANS Location # 1) The Herman T. Pott National Inland Waterways Library in St Louis, MO. This museum houses the William F. and Betty Streckfus Carroll collection, which houses 70 linear ft. of archival records of the Streckfus Steamboat Company.

Location #2) The William Hogan Archive of New Orleans Jazz at Tulane University, New Orleans, LA. Tulane University also sponsors the Riverboats and Jazz exhibit gallery on site. Location #3) The Alton Museum of History and Art, Alton Illinois. This museum is a short distance away from St. Louis and can be included in that trip. The Alton collection includes an entire floor devoted to the Eagle and Streckfus Riverboat Lines.

Locations #4 and 5) Public libraries in both cities to search for newspaper articles. TIME FRAME - 6 WEEKS

BUDGET Airfare - round trip to St. Louis, New Orleans, back to Orlando = $ 1200 Hotel room - 6 weeks extended stay type room = $1481.51 $ 1080.00 $ 840.00 $ 2100.00 FIELD WORK TOTAL = $ 6701.51

Rental car - 3 weeks in each city = Meal allowance and incidentals $20 per day + Hours worked = 210 hours

PHASE THREE: DATA INTERPRETATION, SUMMARY RESULTS, AND CONCLUSIONS

This phase could take up to 2 -3weeks, depending on the amount of data and availability of funds. Work hours could be flexible and other work can be accepted at this point. The estimated cost to complete phase 3 is $ 600.00

TOTAL TIME FRAME FOR COMPLETION OF STUDY = 12 WEEKS (3MOS.) TOTAL COST FOR COMPLETED RESEARCH = $ 8201.51

PROJECTED SUMMARY RESULTS Conclusions may or may not verify the hypotheses fully. Rejection or acceptance depends on the final outcome. A study of the remaining years on the Streckfus Line between 1931 and

2012 could shed light on a number of musically, socially, and culturally significant advancements. It might also show a backward trend in social advancement, as the Great Depression loomed large in a nation still divided by race and poverty. It is important to measure any significant events or trends in riverboat entertainment against the backdrop of the times and social climate of the day. History has shown that between 1901 and 1931, the isolation of sailing down the Mississippi River permitted some social advancement to take place. It is quite possible that the remaining history will show that the isolation of cruising down the Mississippi may have halted social advancements in certain areas and fostered advancements in other areas. Whatever the results may be, we can be certain that any new discovery is worthwhile and significant in its own way. The hypotheses may still hold firm and could also be revised to suit any inconsistencies or partial contradictions.

ONE STEP FURTHER The hypotheses formulated from the study of riverboat music history can also be used to study other socially significant music and artists like Hugh Masakela -the South African born trumpeter whos music became a symbol for social change regarding apartheid in South Africa during the 1960s. We can also apply the same research questions to the recent popularity of Bachata music that originated in the Dominican Republic. In years past Bachata Music was considered to be a symbol of the lower class by many Latin Americans. Today, it is enjoying a new popularity and prominence in the Latin community and no longer carries a stigma that was once associated with it. This subject can be explored

by do a musical ethnography that employs the entertainment hypotheses as a theoretical perspective and all the ethnographic techniques for data collection. The economic expansion and westernization of China is presently full steam ahead and their populations desire for ENTERTAINMENT could advance ARTISTRY and foster SOCIAL CHANGE. Please take a look at the billboard top eight songs for China on 4/21/12

As technology continues to advance communications and the world shifts towards a global economy, social barriers will continue to melt. Art and Music continue to act as ambassadors for every culture as the lines of communication between peoples are slowly opened.

References

Anderson, G. (1990). Johnny Dodds in New Orleans. American Music, 8(4), pp. 405-440. Anderson, J. L. (1994). Riverboats, Fate Marable and the Streckfus family matters. The Mississippi Rag, 21, 10-18. Anderson, J. L. (1996). Plenty of rhythm on the rivers. The Mississippi Rag, 23(9), 25-28, 30-33. Armstrong, L. (1986). Satchmo: My Life in New Orleans. New York, NY : Da Capo Press, 1986, c1954. Armstrong, L., & Meryman, R. (1971). Louis Armstrong--a self-portrait. The interview by Richard Meryman New York, Eakins Press [1971]. Chevan, D. (1989). Riverboat music from St. Louis and the Streckfus Steamboat Line. Black Music Research Journal, 9 (2), 153-180. Collier, J.L. (1983). Louis Armstrong, an American genius. New York, NY: Oxford University Press. 1983. Havens, D. F., (Author). (1988). Fate Marable: A jazz life on the Mississippi. Popular Music and Society, 12(2), 55. Kenney, W. H. (2005). Jazz on the river. Chicago: University of Chicago Press, 2005. Oldaeus, P. (2007). The Riverboat days of Norman Mason. The Mississippi Rag, 34(6), 16-21. Owsley, D., Terry, C., & Sheldon Art Galleries. (2006). City of Gabriels : The History of Jazz in St. Louis, 1895-1973. St. Louis, Mo.: Reedy Press. Shapiro, N. e., Hentoff, N., & Hentoff, N. j. e. (1955). Hear me talkin' to ya; the story of jazz by the men who made it, edited by nat shapiro & nat hentoff. New York, NY: Rinehart. Teachout, T. (2009). Pops : A life of Louis Armstrong / Terry Teachout Boston : Houghton Mifflin Harcourt, 2009.