Jackson's parents convinced him to study the violin, but after awhile, he took up the alto sax and proved more accomplished with that instrument playing Jazz. In 1944, he became part of Lucky Millinder's band working as both a vocalist and saxist.

While he was still in high school, Jackson and his friend Freddie Webster, formed a band - The Harlem Hotshots, who, in 1943, enjoyed a brief stint in a Buffalo (NY) club before returning to Cleveland. At that time, Jackson caught the eye of bandleader Lucky Millinder, whose sidemen gave him the unforgettable name "Bull Moose", and the colorful monicker stuck. One night while on tour in Texas, Wynonie Harris, the scheduled singer, didn't show up. Jackson was pulled out of the sax section to croon the song "Hurry, Hurry," and a new career was born.

Syd Nathan owned a small Country & Western label, King Records, and also had an interest in the Lucky Millinder Band. Hoping that it would expand sales for his King label, Nathan had become intriqued with the then new music form called Rhythm and Blues. Since Millinder was already signed by Decca Records, Lucky promoted his saxist/vocalist Ben Jackson to record for Nathan. Jackson's first 78RPM hit under his own name (for Syd Nathan's Queen label) was "I Know Who Threw the Whiskey in the Well". It was an answer to Lucky Millinder's hit tune from the previous year. Jackson named his combo the Buffalo Bearcats due to frequent gigs at a Buffalo club. The great "Bull Moose" would never look back.

Throughout the late `40s and early `50s, Bull Moose toured and recorded with his band "The Buffalo Bearcats" recording every style of popular music. His 1947 recording of "I Love You, Yes I Do" was the first R&B single to sell a million copies. In 1948, he followed that with "Sneaky Pete," "All My Love Belongs to You," "I Want a Bowlegged Woman," "I Can't Go On Without You," and two more. Also in 1948, Bull Moose made an appearance, with Lucky Millinder's band, in the film 'Boarding House Blues'.

In 1949, he had hits with "Little Girl, Don't Cry" and "Why Don't You Haul Off and Love Me" (a "cover" of Wayne Raney's hillbilly hit, a cross-fertilizing practice at King).

There were two sides to Jackson's vocalizing. One was crooning the standard tunes of the day, but the other side included some wonderfully risque stuff such as "Big Ten Inch Woman" (maybe his biggest hit), and the astonishingly raunchy "Nosey Joe", penned by the young streetwise Jerry Leiber and Mike Stoller team (both from 1952 and both fine examples of "jump blues" at it's wildest).

Jackson remained with Nathan and his King label into 1955, touring and recording with his band "The Buffalo Bearcats". In 1961, he briefly re-entered the charts with his 7Arts Label remake of "I Love You, Yes I Do". Tired of the road and the expense of traveling, the early `60s found him limiting his performing to private engagements and working for a catering firm at Washington DC's Howard University.

In 1983, that's where Carl M. Grefenstette, leader of a Pittsburgh band named "The Flashcats" found him. There followed a series of sold-out concerts with The Flashcats which made Bull Moose a cult hero in Pittsburgh, and led to his first new recordings in over 30 years. "I'm elated that I can still perform, and I'm very proud that people still remember," Moose told the Associated Press in a 1984 interview. "They've resurrected an old man. I had one foot in the grave and the other on a banana peel. They dug me out and here I am." With Grefenstette as his manager, Bull Moose and The Flashcats recorded a 45RPM, "Get Off the Table Mable (The Two Dollars is for the Beer)". In 1985, there was a belated outbreak of Moosemania! when his LP of that name emerged (in conjunction with The Flashcats). Jackson followed that with appearances from New York to Hollywood. In 1985, the Moose performed at New York's famed Carnegie Hall, and toured Europe with Johnny Otis.

With ever failing health, Bull Moose Moose continued to perform regularly until 1987. He gave his last performance, a birthday concert with The Flashcats, in Pittsburgh on April 23, 1988. He spent the last year of his life in Cleveland, being cared for by an old girlfriend who had renewed contact after reading about his new found success. On July 31, 1988, Bull Moose Jackson died of Lung Cancer at Cleveland's Mt. Sinai Hospital.
A good source for Bull Moose Jackson records is: Bogus Records

[ Samuel Jacob Orch. ]
b. d. 1964
My father, the late Samuel (Curly) Jacob was the bandleader at San Francisco's' old Avalon Ballroom for many, many years. I know that he and his band played at the opening ceremonies for the Golden Gate Bridge and most of the festivities around San Francisco during the 1940's.
Thanks to Ms. Lynn B. Turner, Samuel Jacob's daughter for this information on her father.

[ Illinois Jacquet Orch. ]
b. October 31, 1992 (Broussard, Louisiana)
né: Jean-Baptiste Illinois Jacquet; alto/tenor sax.
Born in Louisiana and raised in Houston, his first jobs were with Milt Larkin (local band) and Floyd Ray Orchestra. Moved to California and joined Lionel Hampton's band (1941-1942); became famous for his tenor solo on "Flying Home". After leaving Hampton he worked for Cab Calloway, Norman Granz (for 'Jazz At The Philharmonic' - "JATP"), and Count Basie. Jacquet formed his first band in 1946 (known as the Black Velvet Band). It was recorded by RCA. Prior to forming this band and after it's demise he worked throughout the U.S. and Europe either leading or recording jazz combos and often worked with Lionel Hampton. His brother, Russell Jacquet, played trumpet and appeared on many of his records. Jacquet is still active and currently leads a big band.
Thanks to Mr. Robin Lenhart for contributing this material on Illinois Jacquet.

[ Harry James Orch.], Trumpet
Theme Song: "Ciribiribin"
né: Harry Hagg James
b: March 15, 1916, Albany, GA d: July 6, 1983, Las Vegas, NV
Here's a photograph of a young Harry James, and Louise Tobin, his vocalist wife. Here's a better photograph of a young Louise Tobin. Harry's father was the band leader with traveling circuses. Young Harry began on drums at the age of seven, and at 10, began taking trumpet lessons from his father. In 1931 the family settled in Beaumont, TX. where Harry won a State Championship prize (at age 14) for his trumpet solo with, the Beaumont High School Band.

A little later, Harry began playing with various Texas bands, including including the Old Phillips Friars, Logan Hancock, and Herman Waldman, and toured to New Orleans with band led by violinist Joe Gill. In 1935-6, he was with the Ben Pollack Orch. In 1937, he joined Benny Goodman, where he was immensely successful. Because of this success, he was able to leave Goodman in late December 1938 to form his own band, which opened on February 1939 at the Benjamin Franklin Hotel, Philadelphia. (Previously Harry had led his own studio//recording band and had worked in other "pickup" recordings with Teddy Wilson, Lionel Hampton, etc.)

In the early 1940s Harry's band had, several hit records that featured his trumpet. But by this time, he had abandoned his earlier jazz style to play a more commerical style.

After WW2, he continued to tour occasionally until the early 1950s, then after appearing in a 1955 film, The Benny Goodman Story, he re-formed a big band. Arrangers Neil Hefti, Jay Hill and Ernie Wilkins gave the band more of a 'jazz' sound, unlike his earlier ('40's) "schmaltzy" style. During Oct. 1957, Harry toured Europe with this band.

Inactive during the 1960s he did, however, lead a band regularly for certain gigs in the Las Vegas, Nevada casinos. In 1960, after a 7 year absence, he played engagements in New York City, returning subsequently, to play a Carnegie Hall Concert in September 1964.

James was originally married to vocalist Louise Tobin, but then married actress Betty Grable in 1943. They were divorced in 1965. (Parenthetically, Betty Grable, and Rita Hayworth, were the two most popular servicemens's ' pin-ups' during WW2. Regretfully, Betty died while still quite young, and Rita Hayworth developed Alzheimer's Disease, but Rita's daughter -Jasmin Aly Khan - took good care of her.) Here's an interesting photo of the Harry James Band onstage, with trumpeter Irvan Stumph on the left. (Photo courtesy of Ms. Bobby Jean Stumph, who said "It should be noted that Irvan was writing music for Mr. James (and Tommy Dorsey) before he was even old enough to vote.")

His films include: "Private Buckaroo," "Mr Co Ed," "A Tale of Two Sisters," "Syncopation," "Bathing Beauty," "If I'm Lucky," "Carnegie Hall," "Springtime in the Rockies," "Kitten on the Keys," "Best Foot Forward," "Two Girls and a Sailor," "Do You Love Me," "The Benny Goodman Story."etc. James also sound-tracked for actor Kirk Douglas in the film "Young Man with a Horn."

He toured Europe with own big band in autumn 1970 and again in the autumn of 1971, also played residencies in the USA during 1970s.

Harry died of Lymphatic Cancer, at the Valley Hospital in Las Vegas, NV., at age 67.

[ Art Jarrett Orch ]
Theme Song: "Everything's Been Done Before"

[ Gordon Jenkins Orch ]
b: May 12, 1910; Webster Groves, MO, USA. d: May 1, 1984, Los Angeles, CA, USA
Pianist, Composer, Conductor, Arranger
Theme (Early on): "Hear the Wind Blow"
Theme (Later on): "You've Taken My Heart"
(Please also see Gordon Jenkins, on our Composer's Database.)
His professional career began in the late 1920's playing banjo with local bands in the mid-west. His first job with a name orchestra came in the early 1930's when he landed a job as pianist and arranger with the Isham Jones band. Later, he worked with Paul Whiteman, Benny Goodman, Vincent Lopez and Andre Kostelanetz. In 1937 he was the arranger and conductor for the Broadway Musical "The Show Is On." In the late 1930s and early 1940s, he was Musical Director for NBC radio in Los Angeles, and concurrently working on other radio shows and many movie scores.

In 1944, he became the musical director and orchestra leader/arranger for the popular Dick Haymes radio show. In 1945, Decca Records hired him as a conductor and he soon became a Musical Director for Decca. In the late '40s and early '50s he produced a string of hits for Decca including "Maybe You'll Be There", "Again", "Don't Cry Joe", "My Foolish Heart", "Bewitched, Bothered and Bewildered", "Tzena, Tzena, Tzena" and "Goodnight Irene with the Weavers."

In 1973, Jenkins was chosen to arrange and conduct the orchestra for the singer Frank Sinatra's "comeback" TV special. Virtually every top recording star from the 1950s through the '70s at one time recorded an album with Gordon Jenkins; He had a very recognizable arranging style with distinctive violin phrasing. As a composer he had many hit's to his credit such "Blue Evening", "Blue Prelude", "P.S. I Love You", and "San Fernando Valley" but maybe is best remembered for writing Benny Goodman's closing theme, "Goodbye".

Jenkins is primarily remembered as a composer-arranger. He was also a gifted piano player despite his one-fingered playing featured on many of his recordings. His "orchestra" was one of the recording studio orchestras of the era, and was used well after the Big Band era had closed.
The Big Bands Database Plus thanks Mr. Ken Tidwell for this entry on Gordon Jenkins.

[ Jack Jenney Orch ]
b. May 12, 1910, Mason City, IA, USA. d. Dec. 16, 1945, Los Angeles, CA. USA (age: 35 -complications with appendicitis) né: Truman Elliot Jenney
Theme Song: "City Night"
A fine trombonist of the 1930s and '40s, Jenney was well known for his warm tone and smooth upper register delivery. In 1928, he began his professional career with Austin Wylie's orch. In 1933, he was playing with Mal Hallet, and with Isham Jones in 1934. In the mid 1930s, he played with quite a few popular orchestras of the day including Lennie Hayton, Victor Young and Fred Rich.

In 1937, he directed a recording session for his first wife vocalist Kay Thompson. And, here's a photograph of Kay and Jack. From 1938-1940, he led his own band which never achieved great success. Here's a ca. 1939 photograph of the Jack Jenney Orchestra, playing at a club called 'The Famous Door', -one of the premiere clubs on New York's famed 52nd Street ("Jazz Street"). His only notable recording was "Stardust", arranged by his saxophonist and arranger, Hugo Winterhalter. Let's listen now to that "Stardust"

In 1940, Jenney disbanded and joined the Artie Shaw orchestra. He was featured on Shaw's classic recording of "Stardust" where he virtually repeated the solo he had played on his own recording. In 1942, he formed a trio featuring himself, Lester Ludke on piano and his second wife, Bonnie Lake, on vocals.

Jenney appeared in two movies, 1942's "Syncopation", and 1942 and 1943's "Stage Door Canteen". He played with Benny Goodman briefly in late 1942-early 1943. In 1943 he also briefly fronted the Bobby Byrne orchestra when Byrne entered the Army Air Corps. During 1943-'44, Jenney served in the U. S. Navy. After his service discharge, he appeared on west coast radio until kidney problems developed, aggravated by his life style.

He was co-composer of two tunes, "Man with a Horn" and "What More Can I Give You?" In 1945, Jack Jenney died due to complications from an appendectomy. He was just 35 years old.
The BigBands Database thanks Mr Ken Tidwell for this entry on Jack Jenney

[ Jerry Jerome Orch. ]
b: June 19, 1912, New York, NY, USA. d: Nov. 17, 2001, Sarasota, FL, USA. Age: 89
Theme: "Arsenic and Old Face"
Leader, Tenor Sax, Bass Clarinet, Arranger
né: Jerold Jerome
Pop years: 1936-1949
Jerry had intentions of becoming a doctor but turned to music during medical school. He had previously studied the Sax, Flute, Harmony and Orchestration. His first break came when he was hired by Benny Goodman in the late thirties. Earlier he had played with Harry Reser in 1935, with Glenn Miller's first band in 1937 and Red Norvo in early 1938. He played in studio orchestras in New York until he was hired by Benny Goodman in late 1938. He made what some critics consider his best recordings with Ziggy Elman, in 1939, using small groups of personnel from Goodman's band. When Goodman disbanded in mid-1940 Jerome was hired by Artie Shaw and continued with Shaw until early 1941. From 1942 through 1946, Jerry mostly freelanced, leading bands in New York's recording and radio studios. Jerome also did some "Jingles" writing, - ex: "Winston taste good, like a cigarette should".

In the late forties he became the Musical Director for Apollo Records. Concurrently, he led combos backing up singers on Apollo records while also playing in local clubs. From 1971 to 1973, he led a combo at the New York Athletic Club. During this period he often played clarinet in the style of Goodman and Shaw.. His combo featured some very good musicians as well as the fine vocalist, Lynn Roberts.

In 1972, he retired to Sarasota, FL, where he continued playing at festivals and concerts. He recorded for Arbors Records (CD: "Something Borrowed, Something Blue"). On his demise, he was survived by his wife, Elaine; four sons, Al, Bill, Jim and Jerry; a stepson, David Frankel; two daughters, Joanne Kelvin and Barbara Mazzei; two sisters, Dorothy Kahn and Elsie Abeles; a brother, Irv; 11 grandchildren; and a great-grandchild.
These notes on Jerry Jerome were kindly contributed by Mr. Ken Tidwell

[ Henry Jerome Orch ]
b. Nov. 12, 1917, New York, NY, USA. d. ?
Theme Songs:
Early On: "Night Is Gone"
Later On: "Nice People"
It may be said that Jerome's musical career started when he begn leading his high school band. Upon graduating, he and some of his classmates went to work full-time in the music business. In 1932, Jerome formed his first dance band orchestra in Norwich, Connecticut. It was a 10 piece band, plus vocalists Frank Warren and David Allen. The band was soon booked into the Green Room of the Hotel Edison in New York City, where achieved some popularity via their remote broadcasts over the ABC network.

From the mid-1930s on through the end of the 1940s, Jerome's orchestra worked continuously playing on steamships, touring the Hotel circuits, ballrooms, and such. In the 1940's the band was called "Henry Jerome and his Stepping Tones". It was a "sweet" band that played light ballads and tunes in dancing tempi. The bandsmen were poorly drilled and didn't play well at all. Kay Carlton was the femme vocalist. Billy Bauer played a driving guitar that later helped Woody Herman's First Herd.

In 1944, Henry re-organized the orchestra. During 1945, when they were playing at Child's Paramount Restaurant in Times Square, New York City. Bandmates included two saxophonists, Leonard Garment and Alan Greenspan, Al Haig on piano, and 'Tiny' Kahn, who was the band's drummer. The band's arranger was a young Johnny Mandel.

When Garment left the band, he continued his education, and became a procticing Attorney at Law, while Alan Greenspan also continued his education majoring in Economics. Garment later befriended a young attorney, Richard Nixon, who had just joined the same firm at which Garment was practicing. It was Garment who persuaded Nixon that he should continue a career in Politics. When Nixon became President, he appointed Garment as his personal attorney, and it was Garment who recommended his friend Alan Greenspan to Nixon, who subsequently nominated Greenspan to become the Chairman of the U.S. Federal Reserve Banking System. Garment often joked that Greenspan was a better economist than a reedman. (Interested readers may wish to peruse Garment's autobiography CRAZY RHYTHM, by Leonard Garment Da Capo Press November 2001. Orig pub date 1997. Interestingly, later, Al Haig was the pianist at Leonard Garment's wedding.)

Among the songs that Jerome composed are:
"Homing Pigeon"; "I Love My Mama"; "Night Is Gone"; "Nice People" "Until Six"; "Oh", "How I Need You", "Joe", and the "Theme from Brazen Brass"

With the ending of the Big Band era, Jerome disbanded and became one of the musical directors for Decca Records. He formed a studio-only band and Decca released a series of Albums called "Brazen Brass". (The success of Billy May's "Big Fat Brass" album may have been the inspiration for the project). In 1959, he left Decca and became an A& R man for Coral. In the early 1960's, he released still one more "Brazen Brass" style album for United Artists.

Among his recordings are:
American Gold, United Artists UXS 71
Brazen Brass Plays Songs Everybody Knows, Decca DL-4106
Brazen Brass Brings Back the Bands, Decca DL-4125
Brazen Brass Features Saxes, Decca DL-4127
Brazen Brass Zings the Strings, Decca DL-4187
Brazen Brass Goes Hollywood, Decca DL-x
Brazen Brass Goes Latin!, Decca DL-4226
Henry's Trumpets, United Artists UA 6620
Strings in Dixieland, Decca DL-4307
Vocal Velvet, Decca DL-4440

[ Jeter-Pillars Orch. ]
Basically a "Territory" band, with the territory being St. Louis. The band was formed in 1934 by Hayes Pillars (tenor sax) and James Jeter (alto sax). Both men had gotten their training while working in the Alphonso Trent Orchestra. The band worked for a 10 year period in St. Louis, mostly as a 'floor show' and commercial band - not as a Jazz band, even though musicians such as Floyd Smith, Kenny Clarke, Walter Page, "Big" Sid Catlett, Jimmy Forrest and Carl Pruitt worked in the band.

[ Buddy Johnson Orch. ]
b. January 10,1915, Darlington, S. C.
Early on Theme Song: "Please, Mr. Johnson", Decca 8507
Later on Theme Song: "WALK 'EM" (Johnson composition) and, "If You Never Return."
né: Woodrow Wilson Johnson, pianist
Overview
Pianist Buddy Johnson was one of the important links between the Rhythm and Blues style and the swing era. Perhaps the term 'Big Band Blues' belongs to Buddy Johnson, while his sister Ella (b. 1923) was an early black vocal pioneer who influenced R&B divas like Etta James, LaVern Baker, Ruth Brown. (On February 26, 1992, Ella was granted the R&B Foundation Award.) Buddy gained experience as a pianist during the mid-1930's playing club dates in the New York City area. He formed a good swinging blues band in 1939 and landed a contract with Decca records. He began recording on Nov, 16, 1939. Through July 30, 1942, he made 30 sides for Decca. His band remained active throughout the 1940's. Most of the sides he recorded were hard-swinging blues, which stand up well even today.

In addition to playing piano with the band, Buddy also did vocals, made the arrangements and composed some of his bands greatest hits. ("Since I Fell For You") He not only did the charts for the songs, but even drilled the musicians and taught the vocalists how to present the song, the lyric and themselves to the audience.

After the American Federation of Musicians Union recording ban ended, Buddy continued to record for the Mercury label, and had several LP's released: on Mercury SRW 16234, BUDDY JOHNSON WAILS, and on Roulette SR 25085, GO AHEAD & ROCK ROCK.

Buddy played for standing-room-only audiences at the SAVOY ballroom in New York. In an annual poll conducted by the Pittsburgh Courier, Buddy was, because of his continous bookings, dubbed "King Of The One-Nighters."

In the 1940's and '50's, Johnson's large 'jump blues' band enjoyed tremendous success. His sister Ella Johnson was the primary vocalist. But, in addition to Buddy's vocals, some of the bands best recordings featured vocals by The Mack Sisters; Chester Boone; Warren Evans, Nolan Lewis, Floyd Ryland, and James Lewis. In the late 1940's, Arthur Prysock also sang with the band, continuing into the early 50's.

Band Personnel 1941
trumpet:   Courtney Williams, Chester Boone
trombone:  Dan Minor
saxes:   Leslie Johnakins, Bill Bowen, Kenneth Hollon
piano:   Buddy Johnson
bass:    Frank Clark
drums:   Alfred Taylor
Thanks to Mr.James B. Zerr for much of the information on Buddy Johnson.

[ "Bunk" Johnson Orch. ]
né: Gary Willie "Bunk" Johnson
b. (Bunk claimed) Dec. 19, 1879, New Orleans, LA, d. July 7, 1949 New Iberia, LA. USA
He came about his nickname Bunk quite easily, he was "full of it". Bunk claimed credit for just about anything and everything. He once told interviewers that he was Louis Armstrong's main influence on playing the cornet. Later, when asked, Louis said that he knew Bunk, and that while he greatly admired Bunk's playing, in reality, it was Joe "King" Oliver who had the most impact on him.

Here's a photograph of Bunk's 1944 Band. In the picture: Jim Robinson (trombone), Bunk Johnson (trumpet), Baby Dodds (drums), George Lewis (clarinet), Alcide 'Slow Drag' Pavageau (bass) and Lawrence Marrero (banjo). It was a very hot day!

"Bunk" became a recognized jazz trumpet/cornet player in New Orleans. At the turn of the 20th century until 1949, he played trumpet with a host of jazz greats including Buddy Bolden, Clarence Williams, Evan Thomas and Sidney Bechet. He was a friend and contemporary of Louis Armstrong. After 1930, he moved to New Iberia joining the New Iberia Banner Band led by Gus Fontenette. He worked as a school band director, truck driver, gardner and laborer. In 1942 he collaborated with young jazz historians to retrace the birth of New Orleans jazz. Sidney Bechet's brother provided Bunk with a much needed set of teeth, and members of the Lu Watters Yerba Buena Jazz Band "passed the hat" to buy "Bunk" a trumpet. I recall several concerts of the local jazz society where Bunk was featured with the band. After this, Bunk launched a brief recording and performing career. He gained international recognition for his traditional New Orleans style following performances in New York, Chicago, New Orleans and San Francisco.
The BigBands Database thanks Mr. Verne Buland for the above entry on "Bunk" Johnson

[ Nick Jerret Orch. ]
b. July 29, 1921, Somerville, MA, USA
Here is a photo of Nick Jerret, who, in 1940, brought his own group, including arranger/pianist Ralph Burns and his sister Frances, to New York City, and then found work in the clubs and ballrooms all through the U.S. east coast area. Jerret was very active on New York's famed 52nd Street ('Jazz Street'), where he was ofter heard in such clubs as the Onyx Club, 3 Deuces, Kelly's Stables, Famous Door, and even played for other musicians visiting Manny's music store on 48th Street off Broadway.

Let your mind wander back over the years and visualize your self after hours in a crowded little club on 52nd street, in the early 1940s, listening to the Nick Jerret Quintet playing a soulfull "Lover Man"-(363 kb). In the quintet are Shelley Soreff - Piano, Bob Costa - Bass, and Sauly Wiseman - Drums (Takes with Marsha Drake - Vocals). Singer/guitarist Jackie Paris also played with Jerret. (né: Carlo Jackie Paris b. Sept. 20, 1924, Nutley, NJ, USA, d. June 17, 2004, New York (Manhattan), NY, USA. One of Jackie's uncles played guitar with the Paul Whiteman Orchestra.)

Jerret has spent all his years as a band leader, teacher and mentor to some of the best names and talents in the history of Jazz.

Nick is the brother of singer Frances Wayne (née: Chiarina Francesca Bertocci. b. Aug 26, 1924, Boston, Massachusetts, USA, d. Feb 6, 1978, Boston, Massachusetts, USA. She was married to Basie-Arranger Neal Hefti)

Currently (2006) Nick is alive and well at 87 years of age, living in Studio City, California with wife Marsha and his two daughters Nikki Beach, and Elyssa Perry, who was the first wife of Joe Perry. (See Perry entry on our Sept 10 Calendar
The Big Bands Database Plus thanks Nick and Marsha Jerret for permission to reproduce Nick's photograph. All rights are reserved to Nick and Marsha Jerret. Readers may also wish to visit Nick Jerret's Website

[ Frankie Jaxon ]
1895, Alabama, USA. d. 1944, USA.
Frankie "Half Pint" Jaxon, was the Leader (no instrument). At just age 15, Frankie was already working in medicine shows touring the eastern U.S. seaboard. His feminine voice and outrageous manner alwauys pleased the customers. Early on, he was a working as a female impersonator in Atlantic City , NJ, following which he relocated to Chicago, IL, finding work with such great Black bands as Joe "King" Oliver, and Freddie Keppard, and with various Jazz bands, passing through the city.

He was also a leading vaudevillian, touring with his own band. He would sometimes jump up on the top of the grand piano, baton in hand, while leading a band, that included (1925) Bob Schoffner, trumpet; Drummer Tubby Hall, and also piano; clarinet, and a sax. Frankie had the ability to move with, consumate ease, from Jazz band, to show 'biz', and Folk genres.

Frankie kept the band going even into the early 1930's. While he certainly worked with many of the New Orleans Jazzmen who had migrated to Chicago, most of the men on his own bands were from were recruited from Chicago's South Side.