Critic Scott Yanow described him as one of the premier proteges of Lester Young, and a leading jazz flutist of his era—using the latter instrument to bring new colors to Basie's music.

While speaking to his father, who was a school principal in Oklahoma, on a separate occasion, he discovered that his mother had wanted him to become a musician for a long time.

Up until that pivotal moment, Frank had viewed his interactions with his mother as bonding where she emphasized the importance of being aware of culture.

[7] Then, in 1935, Frank and his family moved to Washington D.C.. At this time, he had not been playing any longer as burnout had gotten the best of him, causing him to grow "tired of the music.

Living in Washington D.C. put him in proximity to Baltimore, Maryland, a city that marked a turning point in his young career.

He would serve as an assistant bandleader that played a variety of music - Viennese waltzes, vaudeville, classical and marching band to name a few.

The highlight of Frank's time with the Army Band was accompanying Josephine Baker on tours for the Allied Power's troops.

"[10] This interaction was a golden opportunity as this orchestra was legendary for being the first big band that played a new style of jazz known as bebop.

Moreover, Billy Eckstine's Orchestra included pioneers for this new style of jazz: Fats Navarro, Miles Davis, Howard McGhee, Dexter Gordon, Gene Ammons, Leo Parker, Tommy Potter, Art Blakely.

In high school Frank's orchestra teacher gave him a flute, but he did not have anyone to teach him how to properly play it.

While many could not comprehend Basie's approach, this allowed the members of the band to truly get to know each other so they could stay around long enough so that it translated into cohesive music pieces.

This flourishing friendship displayed how Basie's leadership style had encouraged the musicians to form a deeper connection with each other.

This was critical in helping establish the swing in the orchestra's music, a component that Count Basie highly valued.

In 1957, Frank willingly changed to playing the alto saxophone as the band had added Eddie "Lockjaw" Davis.

[11] For Broadway, Frank was a part of the pit bands for the renown shows Golden Boy, Chicago, Annie, and Sugar Babies.

He was a key part of The New York Jazz Quartet along with Sir Roland Hanna on the piano, one of George Mraz or Ron Carter on the bass, and either Ben Riley, Richard Pratt, or Grady Tate on drums.

Frank played the tenor saxophone throughout the song, showcasing a slower side of jazz.

The album began with a song named "Say It Isn't So," that showcased the swing that Frank had built his legacy on during his time with Count Basie.

The third song, "Pretty Lady," and the fourth one, "Come Rain or Come Shine," go down the blues path as they focused more on raw emotion.

The album end's with Frank's solo saxophone rendition of Duke Ellington's "All Too Soon," where he created an intimate feeling for the listeners.

He was survived by his companion, Sara Tsutsumi, two daughters (Michele Kane and Francine Wess), two grandchildren, and four great-grandchildren.

With the New York Jazz Quartet With Toshiko Akiyoshi With Manny Albam With Lorez Alexandria With Gene Ammons With Dorothy Ashby With Count Basie With Count Basie Orchestra With Benny Carter With Ron Carter With Kenny Clarke With Hank Crawford With Dameronia With Charles Earland With Harry Edison With Frank Foster With Gene Harris With Johnny Hartman With Coleman Hawkins With Johnny Hodges With Bobby Hutcherson With Milt Jackson With J. J. Johnson With Elvin Jones With Etta Jones With Quincy Jones With Thad Jones With Dick Katz With Yusef Lateef With Junior Mance With Arif Mardin With Les McCann With Jimmy McGriff With Charles McPherson With Helen Merrill With Oliver Nelson With David Newman With Joe Newman With Chico O'Farrill With Houston Person With Buddy Rich With A. K. Salim With Woody Shaw With Zoot Sims With Melvin Sparks With Leon Spencer With Dakota Staton With Billy Taylor With Earl Washington With Charles Williams With Gerald Wilson With Lem Winchester