Feminist scholars seeking for early feminine performers in the jazz and blues genre may just forget about Rozelle Claxton, a male despite an initial name that ideas at dresses and perfume. He originated from a big Memphis family members and was trained to learn music by his sister. From age 11 he was using piano, with 17 was a specialist in the combo of trumpeter Clarence Davis. This group, referred to as Clarence Davis’ Tempo Aces among various other band names, supplied back-up for composer and publisher W.C Handy in 1932. Many years afterwards, Claxton started both playing and organizing for Harlan Leonard and was also booked frequently as a single pianist in the Chicago region. In the past due ’30s and early ’40s, the keyboardist kept forth with Ernie Areas and Eddie South as well as briefly substituted for Count number Basie himself. Single gigs continuing in the ’40s along with stints behind Walter Fuller and a quartet led by George Dixon. With the past due ’40s he previously established a popularity as an excellent arranger and his graphs were turning up on bandstands occupied by Basie, Earl Hines, Crimson Norvo, Jimmie Lunceford, Andy Kirk, and many more. Female singers appear to be his primary curiosity about the ’50s: he was most widely known in this 10 years as an accompanist for the effective Pearl Bailey. From 1959 he started dealing with Franz Jackson and was highlighted on many of this leader’s live albums in the next 10 years. Claxton preserved a existence as both a single organist and pianist at different Chicago venues until enough time of his loss of life. He was occasionally confusing with another pianist called “Rozelle”, specifically the Californian Rozelle I. Gayle.