[ Java's Tzigane Band ]
Currently no information available. Band was seen in 1936 British film 'King of Hearts'.

      [ Guy Jones and his Band ]
Currently no information available. Band was seen in 1938 British film.

      [ Tommy Jones and his Band ]
This orchestra worked for the Blackpool Tower Company for a number of years (1950's to the 1970's). Jimmy Knagg was drummer (up to 1961). In private correspondence, Knagg's son, Phillip Knagg, has advised that
        "The Orchestra played the Winter Garden's Empress Ballroom in the winter
        months and switched to the Tower Ballroom for the summer. Charlie Barlow's
        band did the reverse. In the 1970's Tommy Jones moved over to the
        Tower Circus. That is the last I heard of them.

      [ Teddy Joyce and his Band ]
Currently no information available. Band was seen in British made picture 'Radio Parade of 1935', and the 1936 film 'Hearts of Humanity'.

      [ Jack Jackson Orch ], (30's)
Trumpet. b. 1907, Barnsley, Yorkshire, England, UK, d.
Jack completed his musical studies at the Royal Academy of Music, early on in the 1920's. His first jobs were as sideman in the small bands working on ocean liners, following which, he worked with Jack Hylton and Bert Ambrose. Jack went with Bert Ralston on his South American tour in 1931, the tour on which Ralston died.

He was with Jack Payne from 1931 to 1933, and then left to form his own band. It was booked into the Dorchester Hotel in August 1933, and remained until April 1939, when, unable to get together with the management on a salary agreement, the band left. During this time, the band did quite a few recordings, some of which featured the great American black vocalist, Alberta Hunter. The band toured after leaving the Dorchester, playing the theater and ballroom circuits, as well as some hotels, including Rector's and the Mayfair.

In private correspondence, Mr. Frank Reuben, has mentioned that "My uncle, Harry Reuben, played piano in the Jack Jackson Orchestra for a number of years prior to the second world war....."

In 1941, his band was seen in the British made film 'Pathetone Parade of 1941'. Jack disbanded in 1947. He finished his career as a disc jockey; TV personality, and theater soloist. He later retired to the Canary Islands.

      [ Howard Jacobs Orch. ], (30's)
Currently no information available
The Jacobs Orchestra was seen in British films including the 1934 'Gay Love' and in the 1935 film 'In Town Tonight'

      [ Ken Johnson's West Indian Band ], (1930's all Black)
b. Sept., 10, 1914, Georgetown, British Guiana, d. March 8, 1941 London, Eng. UK (during German Air Raid on London.)
né Kenrick Reginald Huymans Johnson
Nickname: "Snakehips"
First Theme: "Sunny Side Of The Street" (retitled "On The Side Of The Street That's Sunny")
Radio Theme: "Dear Old Southland" (Henry Creamer and Turner Layton)
Remembered today as both a Dancer (Ken "Snakehips" Johnson), and a Bandleader.
Ken Johnson was born into a well to do West Indies family (his father was a doctor). Ken first studied at Queens College, in Guiana, and, in 1929 at age 15, traveled to London and continued his studies at The William Borlase School in Marlow, Buckinghamshire (also playing on the school Cricket team, where his height of 6 foot 4 inches made him an ideal goaltender).

In 1930, at dancer Fred Astaire's urging, impresario C. B. Cochran had brought American choreographer Buddy Bradley over to England to work with actress/dancer Jessie Matthews, for her role in the 1930 musical 'Evergreen'. (In America during the 1920s and early 1930s, Bradley had coached such stars as Ruby Keeler, Fred Astaire, Lucille Ball, and Eleanor Powell.) Johnson sought out Bradley, and it was Bradley who taught the young Johnson to dance. A brief glimpse of Johnson's dancing can be seen in a dance sketch called "Old Yazoo", in a 1934 film - for which Bradley was the choreographer - entitled "Oh Daddy". ('Yazoo' is a county in southern Mississippi, USA.)

In 1934, Johnson visited America, and while there, found some work in a Hollywood cabaret, and in films (in New York city), where he lived in New York city (Harlem), and heard the Cab Calloway, and Fletcher Henderson orchestras, among others. This experience caused a desire to have his own orchestra.

In 1936, Ken was back in England, and received an offer from Lloyd Thompson to act as a "Front Man" for Thompson's "Emperors of Jazz" band. Thompson felt that Johnson's dancing and general Charisma would help the band. The band's agent (Ralph Deane) got them a 6 month engagement at the Old Florida Club in London's Mayfair section (Bruton Mews) that began on New Year's day 1937.

Thompson's band folded just a couple of months later, when he learned that Johnson had signed his own contract with the club. Some of the 'Emperors Of Jazz' sidemen stayed with Johnson, including trombonist Freddie Greenslade, and the rhythm section of Frank Deniz playing second guitar, Frank's brother Joey Deniz -also a guitarist, Abe Clare (bass), and Tom Wilson (drums). To replace some men who would not leave Thompson, Johnson brought in four players from the West Indies (including clarinetist Carl Barriteau). One of Johnson's good friends, Leslie "Jiver" Hutchinson, was also in the band, now called 'Ken Johnson and his Rhythm Swingers'. In July 1938, his band, with arrangements by Adrian de Haas, was broadcasting over the BBC, and the Band was also seen in the 1938 British film 'Traitor Spy'. By 1940, the band had become one of the top Swing bands in the U.K.

In 1941, at the height of WW2, 'The West Indian Orchestra' was resident at The Cafe de Paris in London's West End, on Coventry Street. (It was a very small club, the dance floor could only hold a few couples.) The club was down a long, steep staircase, -quite far down. Because of this, patrons felt quite safe. Unfortunately, On March 8, 1941, during a German air raid on London, one of the bombs found the club's airshaft. Over 30 people were killed outright, with over 60 more being seriously injured. Tenor sax Dave Williams, and Ken Johnson were among the dead. Johnson was 26 years old.

      [ Jazz aces ], (Mid-1950's on )
A very popular band working in the Manchester area. In private correspondence, Mr. Joe Silmon-Monerri (multi-reedist with the Jazz Aces) has recalled that there were three very popular Manchester bands, the first band of the three to set up was the original "Jazz Aces", and then "The Saints Jazz Band"; next, "The Jazz Aces" - in various versions - and finally, "Pete Haslam's Collegians/Crescent Jazz Band". Mr. Joe Silmon-Monerri continued with his memories: It should be noted that the name "Jazz Aces" actually refers to a collection of similarly named bands that transcended a decade. During that time , a number of different men led the group, whose personnel similarly varied. Mr. Joe Silmon-Monerri continued: .

"The "Jazz Aces" -- Origins and Development"
      "In early 1953, Martin Rodger (clarinet) left the Mohawk Jazz Band (established Feb. 1953,
      resident at the 'George and Dragon' ) -- probably in early-mid 1953. He was replaced by
      Ted Lucas (clarinet) from the Apex Jazz Band some time that year, and it was during his time
      in the Mohawk J/B that Mart had toyed with the idea of a band called the "Jazz Aces". According
      to Mart, the new band-name was his brainchild, just before being conscripted into the Army.
      Mart was certainly the first to lead one of several lineups of the famous "Jazz Aces". It was a
      new band that would become a local institution in itself, that would lead to the formation of the
      Vieux Carré Jazz Club under the management of the late Bill Brennan. The Vieux Carré was
      the organ that held the "Aces" together for almost a decade, despite several changes in
      leadership due to various circumstances, and was the governing body supervising recordings. "

"As mentioned, this band had, at times, different leaders and different line-ups.. The following is the pattern of transitions: Eric Batty gave the band his name as leader, when Mart left for the Army, as did Dizzy Burton (trumpet) and Ken Parkinson (trombone) later. The following is the pattern of transitions: "

**** Mart Rodger's Jazz Aces Established 1953 Takeover 1953
**** Eric Batty's Jazz Aces Established 1953 Takeover 1957
**** Dizzy Burton's Jazz Aces (I) Established 1957 Takeover 1961
**** Dizzy Burton's Jazz Aces (II) Established 1961 Disbanded 1963?
**** Ken Parkinson's Jazz Aces Established 1961 Disbanded 1962
**** Dizzy Burton's Jazz Aces (III) Reformed 1963 Disbanded 1966?

         "In 1951, 'The Apex Jazz Band', replaced 'The Saints' at 'The Thatched House' after
         the Saints had moved to the Grosvenor Hotel in Deansgate. Then in March 1953,
         "The Jazz Aces' replaced 'The Apex Jazz Band' at 'The Thatched House'. In 1954,
         Mart was called up for National Service, and the band subsequently became 'Eric Batty's
         Jazz Aces', which remained at 'The Thatched House' until 1956 Meanwhile, 'Alan
         Jackson's Apex Jazz Band' thrived elsewhere, since it was a very popular band on the
         local (Manchester) scene."

"Mart Rodger's Jazz Aces" -- By October 1953: "The Original Mart Rodgers Jazz Aces consisted of:
     Mart Rodger (clarinet/leader)
     Dave Browning (trumpet)
     Alan Pendlebury (trombone)
     Keith Pendlebury (piano) only joined in Jan. 1954.
     Jack Garnet (drums)
     Eric Batty (kazoo/vocals – note: Eric had no double bass until later]
     Frank Howard (banjo/guitar) replaced by Sue McManus end March 1954
     Bill Brennan (Manager, w.e.f. December 1953; Bill was influential in setting up the Vieux Carré Club - with its HQ at the Thatched House, by some time in 1954. Other outposts similarly named opened in 1954 by Brennan. The name was based on a famous New Orleans venue)

"Eric "Beaver" Batty's Jazz Aces" -- By March 1954,Eric "Beaver" Batty's Jazz Aces Eric had become known as "Beaver" (it is not clear why). His Jazz Aces, after Mart Rodger left for the Army in Summer 1953, had the following personnel:
    Tom Alker (clarinet)
    Doug Whaley )
    Dizzy Burton ) Burton and Whaley shared trumpet lead
    Roy Williams (N.O. trombone -- Modern Jazz piano/guitar in intervals)
    Keith Pendlebury (piano)
    Jack Garnet (drums)
    Eric Batty (kazoo/vocals -- note: Eric still had no double bass until later]
    Sue McManus (banjo/guitar -- later became Mrs Sue Alker)
    Bill Brennan (Manager),"

By 1954-55, Eric had acquired a full size double bass, but still did vocals. His Jazz Aces, at the time the band recorded 2 LPs and 1 EP for the "Esquire" label in 1954-55, had the following personnel:
    Tom Alker (clarinet)
    Dizzy Burton (trumpet/leader -- by this time Doug had gone up to Oxford)
    Roy Williams (trombone)
    Jimmy Smith (piano/trombone)
    Ron Peach (drums)
    Eric Batty (bass/kazoo/vocals/leader -- in name)
    Sue Alker (banjo/guitar)
    Bill Brennan (Manager)"

By 1956-1957, Eric's band Shown here at 'The Thatched House'. The personnel shown are (.L-R ) Roy Williams (t'bone), Dizzy Burton (tpt), Ron Peach (drums), Tom Alker (clarinet), Eric Batty (bass/kazoo/leader), Sue McManus (banjo/guitar), and Jimmy Smith, (piano-vocals). ( This rare photograph is from trombonist John Turner, and is reproduced here through the courtesy of Mr. Joe Silmon-Monerri. All rights reserved. ) The band at this time had the following personnel:
    Tom Alker (clarinet)
    Dizzy Burton )
    Doug Whaley ) (Burton and Whaley shared trumpet lead - Doug *at Oxford University 1957-'61, and
        must have commuted)
    Roy Williams (trombone)
    Jimmy Smith (piano/trombone)
    Ron Peach (drums -- until mid-late 1957, when replaced by Moe Green)
    Eric Batty (bass/kazoo/vocals/leader)
    Sue Alker (banjo/guitar)
    Bill Brennan (Manager)

"Desmond "Dizzy" Burton's Jazz Aces" -- 1958-1959, " Desmond "Dizzy" Burton's Jazz Aces had the following personnel:
    Dizzy Burton (trumpet/leader/vocals)
    Tom Alker (clarinet - repl. by Eddie Lomax Mar. 1959)
    Roy Williams (trombone -- called up for N.S. in 1959; repl. by Ken Parkinson)
    Keith Pendlebury (not in main band - solo piano in intervals (late 1959?); repl. by John Featherstone
        (pno) -- date uncertain)
    Derek Hamer (drums -- repl. by Moe Green Dec. 1958)
    Gill Parry (bass -- Gil replaced Eric, who had given up playing for domestic reasons; Gil was replaced
        by Lawrence Selcoe in Nov 1960)
    Sue Alker (banjo/guitar --- repl. by Harvey Tattersall (bjo) ?? ? 1958; Tattersall repl. by Denis Tonge
        (bjo/gtr/voc.) Dec? ;1958, Tonge replaced. by Mike Reddin (banjo/ guitar) Jan. 1959; John
        Gordon replaced Mike R. in Aug 1960.
    Bill Brennan (Manager)"

N.B. : THERE ARE NOW (END 1959) TWO 'JAZZ ACES' RUNNING AT SAME TIME.

Ken PArkinson's Jazz Aces [a splinter-group, while Dizzy's band active]
On 18 December 1959, the band at the Thatched House, by now under the leadership of Ken Parkinson, had to make the sad announcement that it was moving from the Thatched House after a stay of almost seven years. This version of the band then moved to Wynn's Licensed Restaurant on Corporation Street, where it did not remain for many months. The area the Thatched House occupied on Cross St., was being cleared for new City planning and reconstruction. It is not clear where Dizzy's band moved to, but the last band to play at The Thatched House was Ken's. Personnel:

Ken Parkinson's Jazz Aces -- 1958-1959,
Ken Parkinson's Jazz Aces had the following personnel:
    Frank Cropper (trumpet/leader/vocals)
    Eddie Lomax (clarinet -- later replaced by Neil Dunning, then by me, Joe Silmon)
    Ken Parkinson (trombone -- who had replaced Roy Williams in main DBJA)
    John Featherstone (piano with main rhythm section)
    Tommy Lloyd (drums -- Moe Green joined later in 1960)
    Malcolm Simpson (bass -- replaced by John Unsworth over the same period)
    John Gordon (banjo/guitar) "Note: Bill Brennan was redundant as Manager; he had teamed up with Frank Booth and Alan Arnison on Club Creole promotional issues, including early disco-work, at Rex Ballroom, Wilmslow)"

      "NB: John Featherstone (pno), Moe Green (drs) and myself, Joe Silmon (multi-reeds) were persuaded by Bill Brennan and Bill Entwhistle to join the newly forming Tony Smith Jazzmen -- which we did. And so, we left Wynn's Licensed Restaurant, and Ken Parkinson's Jazz Aces. At the same time, I had been running Joe Silmon's Jazzmen on a different night at the Black Lion in Salford, but quit my own band soon after, to concentrate on working in Tony Smith's much more efficient-sounding and promising band -- which it was. Dizzy Burton continued, after temporarily having some serious health problems that later led to his untimely death in 1996. His lineup by the early-mid-1960s, with himself as a fully-fledged professional, was":

"Dizzy" Burton's Jazz Aces " -- 1958-1959
"Dizzy" Burton's Jazz Aces had the following personnel:
    Dizzy Burton (trumpet/leader/vocals)
    Eddie Lomax (clarinet)
    "Slim" Simpson? (trombone)
    John Featherstone (piano -- who was also with Ken's band for a while, end 1959-60)
    Derek Hamer (drums)
    Gil Parry (bass -- later replaced by Lawrence Selcoe, Dec. 1960)
    John Gordon (guitar/banjo) "

"A note on Keith Pendlebury
      I have just been reminded by John Gordon that, at Wynn's Licensed Restaurant, the late
      Keith Pendlebury (pno) and Marcia McConnell (vocals) did a long interval spot, sometimes
      with accompaniment by bass, drums and myself (reeds), at other times, just the two of them.
      It was always both excellent Jazz and excellent entertainment. Keith had recently returned
      from Canada, where he had been playing professional football, and combining that with
      listening to some great Jazz and sitting in on some interesting sessions. He came back full
      of ideas that he cleverly put into practice on his return to the UK. He became an outstanding
      soloist. Marcia's style blossomed while they worked together, and it was inevitable that they
      would soon become a very compatible double-act and, in the fullness of time, a married
       couple. They were highly successful, either within bands or on their own with rhythm backing,
      or even without. Keith played a piano powerfully -- frequently smashing keys! Where I noticed
      that they first came to the fore was at the Jazz at the Riverside Club, based at the Railway Hotel,
      Whaley Bridge, in the Peak District. At that time (1966-67) they, Moe Green (drs) and myself
      were in the Zenith Six (Saturdays), and on Sundays we were at The Railway Hotel. That is
      where the Keith Pendlebury Trio, Marcia, Geoff Ford (bass), Moe Green (drums -- or sometimes
      'deps.') and myself could play the kind of Jazz that we were itching to perform, and couldn't in
      the restrictive N.O/Dixieland setting of the Zenith Six. At the Railway, we could do Mainstream
      Swing, even Bossa Novas. Keith and Marcia became extremely popular on a global scale in
      later years, I think as a result of those sessions. That never surprised any of us. What I
      regretted most, though, were their very frequent clashes of personality with anyone who didn't
      permanently acquiesce to their ideas, which split the two bands into factions. But, the two
      working together, did deserve the fame they later built up by sheer good entertainment, and
      there is the happy thought that most people mellow with age. "