Female Cornet Soloist Jessie Millar – 1890’s

See: Soft Lips on cold metal: female brass soloists of the 19th and early 20th centuries by Gavin Holman.

An exceptional ‘FEMALE’ featured virtuoso cornet soloist that performed with the Carl Clair Circus Band in the United States in the 1890’s was named Jessie Millar.

Ms. Millar did not play in the band with the other male band members. Ms. Millar was a featured virtuoso cornet soloist who exclusively performed on a podium positioned in front of the band next to Band Director, Carl Clair.  And, with certainty, Ms Millar received a salary that was at least double of what the first chair cornet player in the band received. And, Ms. Millar was probably on call perhaps only 30 minutes a day to perform cornet solo’s with the Carl Clair Circus Band.  Second to Carl Clair, Jessie Millar was the highest paid member of the already well paid band.

In the 1890’s, the typical Circus Band Musician received $3.00-$5.00 a week with the first chair cornet, baritone, and trombone players receiving an additional $1.00-$2.00 per week.  Circus Band leaders received around $10-$12 per week.

Carl Clair paid his sidemen $8.00 a week with first chair players receiving $10 per week. Carl Clair received $30-$40 per week.  The virtuoso cornet soloist, Ms. Jessee Miller was probably paid at least $15-$18 a week.

Although in 2019, the 1890’s salaries noted above seem like less than a pittance, that was not the case in reality.  The U.S. Dollar was fully convertible into either gold or silver bullion and the Dollar value in the 1890’s had radically greater purchasing power than in 2019.

As an example, according to the United States Bureau of Labor Statistics consumer price index, prices in 2018 are 1,892.91% higher than prices in 1800. The dollar experienced an average inflation rate of 1.38% per year during this period.

In other words, $100 in 1800 is equivalent in purchasing power to $1,992.91 in 2018, a difference of $1,892.91 over 218 years.

See inflation calculator…..
According to the Bureau of Labor Statistics consumer price index, prices in 2019 are 2,890.87% higher than prices in 1895. The dollar experienced an average inflation rate of 2.78% per year during this period.

In other words, $8.00 in 1895 is equivalent in purchasing power to $239.27 in 2019, a difference of $231.27 over 124 years.

If Cornet virtuoso, Ms. Jessie Millar was paid $15.00 a week in 1995, According to the Bureau of Labor Statistics consumer price index, prices in 2019 are 2,890.87% higher than prices in 1895. The dollar experienced an average inflation rate of 2.78% per year during this period.

In other words, $15 in 1895 is equivalent in purchasing power to $448.63 in 2019, a difference of $433.63 over 124 years.  And, remember, no income tax, and all living expenses and traveling expenses were fully covered by the Circus employer.

At the end of a tour, many musicians could establish a nice sized ‘nest egg’.  Of course, there was no such thing as unemployment insurance to keep food on the table at the end of a Circus Tour season.  However, electronically transmitted music was not invented yet.  Consequently, a musician could usually get work playing at a ‘sit down’ fixed location venue during the ‘off tour circus season’.

Musicians became attracted to performing with Circus’s because virtually all of their pay was ‘free and clear’.  And, all all living expenses, including food, housing, and transportation were provided for by the Circus employer.  And, there was no Income Tax in the United States until 1913.  However, all of the Musicians including the Circus Acts themselves were expected to tip a modest amount extra to the ‘show mailman’ who delivered the male or to the show personnel who responsible for doing laundry on a routine basis.

Additionally, the musicians were provided with sleeping berths, usually two high, although on some of the smaller circuses were required to sleep in three-decker bunk beds. The band director was provided with a stateroom on the train.  The size of this stateroom was either 1/4 or even 1/2 of a large train car.  With certainty, Carl Clair was provided with at least 1/2 of a large train car to berth privately in.   The cookhouse tent fare which was always setup on the Big Show grounds was simple but adequate, and the musicians shared the same table throughout the season. Like everyone connected with a circus the musicians were required to pay their own transportation to winter quarters or the city where the show was to open the season.

In the 1890’s, The Barnum & Bailey Circus employed a top drawer traveling circus ‘Show Band’ that employed around 30 very capable musicians.  A circus of this nature (which there were many in the late 19th Century) performed a series of one day stands over a 6 to 8 month ‘tour season’ that moved daily to a different location (1 day stands) seven days a week without any days off.

The musicians provided fast paced musical accompaniment to the Circus Acts on shows that lasted 2 1/2 to 3 hours. And, there were normally 2 performances a day – 7 days a week.

The musicians also performed an approximate one hour circus parade concert while sitting in a large, ornately carved band wagon for about one hour while being pulled by a team of horses. The parade disembarked from the ‘Circus Train’ that housed all of the performers, musicians, staff, and equipment and ended at the ‘Big Top Show Grounds’.  Prior to each of the twice per day lengthy performances, the Circus Band would perform a formal ‘Concert’ that last 30-45 minutes.  (Needless to say, an 8-10 hour daily musical performance schedule that was required  7 days a week for 6-8 months was particularly grueling. However, this was the norm from 1870-1930 when the Circus was “KING” of entertainment in the United States.

The Author of this Essay, Bob has an exceedingly rare ORIGINAL copy of this fine poster
that was designed and printed by the Strobridge Printing Company in Cleveland Ohio to Advertise the Barnum & Bailey 1895 Season. The Author acquired this very rare Poster at a Christie’s Auction in New York in 1987.

A young lady named Jessie Millar was the featured virtuoso cornet soloist.

Other than her name, and illustration on this 1895, Barnum & Bailey advertising circus poster, (The only circus poster that was ever produced that featured a female cornet soloist.) virtually nothing is known through written record about the career of the talented, cornet soloist, Ms. Millar.

However, in the late 1970’s, the Author of this Essay, Bob Amato had two multi hour face to face meetings with the then elderly Author, Glen D. Bridges. Mr. Bridges authored ‘Pioneers in Brass’ which was first published in 1965. This book is the preeminent collection of profiles and photographs of the prominent brass players of the late 19th and early 20th century.

(The Author of this essay received 2 signed, First edition copies of this book from the Author, Mr. Bridges). Mr. Bridges had notes in his mountain of research that mentioned the talents of Ms. Jessie Millar from both musicians as well as well known male virtuoso cornet soloists. At least anecdotally, Ms. Millar was highly regarded amongst her all male peers who in some cases received International acclaim.

“Two Hemispheres” Circus Band Wagon used by Barnum & Bailey in 1903
and restored by the Circus World Museum in Baraboo, Wisconsin.