8.1206815 8.1206816

1. March Of The Bob Cats 2:37(The Bob Cats)Decca 63423-ARecorded 14 March 1938, New York

2. Stumbling 3:13(Zez Confrey) Decca DLA 1060-ARecorded 13 November 1937, Los Angeles

3. Who’s Sorry Now? 2:57(Ted Snyder–Bert Kalmar–Harry Ruby)Decca DLA 1061-ARecorded 13 November 1937, Los Angeles

4. Coquette 3:06(Carmen Lombardo–Johnny Green–Gus Kahn)Decca DLA 1062-ARecorded 13 November 1937, Los Angeles

5. Palesteena 2:53(Con Conrad–J. Russell Robinson)Nappy Lamare, vocalsDecca 63424-ARecorded 14 March 1938, New York

6. You’re Driving Me Crazy! 2:53(Walter Donaldson)Decca DLA 1064-ARecorded 13 November 1937, Los Angeles

7. Slow Mood 3:06(Eddie Miller)Decca 63425-ARecorded 14 March 1938, New York

8. So Far, So Good 2:44(Jimmy Mundy–Eddie White–Jack Lawrence)Marion Mann, vocalsDecca 67242-ARecorded 28 February 1940, New York

9. Big Foot Jump 2:39(Bob Zurke)Decca 63426-ARecorded 14 March 1938, New York

10. Five Point Blues 3:05(Yank Lawson)Decca 63428-ARecorded 14 March 1938, New York

11. Tech Triumph 2:43(Mattie E. Boggs–W.P.Maddux)Bob Crosby, vocalsDecca 67286-ARecorded 11 March 1940, New York

12. Call Me A Taxi 3:16(Bob Haggart–Bob Zurke) Decca 91517-ARecorded 14 October 1938, Chicago

13. I Hear You Talking 2:33(Eddie Miller–Ray Bauduc)Decca 91516-ARecorded 14 October 1938, Chicago

14. Blow, Blow, Thou Winter Wind 2:23(Arthur Young–William Shakespeare)Marion Mann, vocalsDecca 91713-ARecorded 20 April 1939, Chicago

15. It Was A Lover And His Lass 2:43(Arthur Young–William Shakespeare)Marion Mann, vocalsDecca 91714-ARecorded 20 April 1939, Chicago

16. Hindustan 3:14(Oliver G. Wallace–Harold Weeks)Decca 64989-ARecorded 6 February 1939, New York

17. Do You Ever Think Of Me? 2:59(Harry D. Kerr–John Cooper–Earl Burtnett)Nappy Lamare. vocalDecca 67172-ARecorded 6 February 1940, New York

18. The Love Nest 3:10(Louis Achille Hirsch–Otto Abels Harbach)Decca 66664-ARecorded 25 September 1939, New York

19. Washington And Lee Swing 2:48(C.A.Robbins–Thornton W.Allen–M.W.Sheafe)Decca 66662-ARecorded 25 September 1939, New York

20. It’s All Over Now 3:19(Johnny Lange–Lew Porter) Bob Crosby, vocalsDecca 67284-ARecorded 11 March 1940, New York

21. Till We Meet Again 3:17(Richard A. Whiting–Raymond B. Egan)Decca 66601-ARecorded 18 September 1939, New York

Transfers, Production & Digital Noise Reductionby Peter Dempsey

Original monochrome photo of Bob Crosby’s BobCats from MAXJAZZ/Lebrecht Music Collection.Clockwise from bottom left: Bob Crosby, Ray Bauduc, Nappy Lamare, EddieMiller, Bob Haggart, Jess Stacy, Billy Butterfield,Warren Smith, Irving Fazola

Also available in the Naxos Jazz Legends series ...

8.120632* 8.120652* 8.120712

* Not available in the USA

120681bk Bob Cats 12/11/03 11:01 PM Page 2

8.1206812 8.1206813 8.1206814

Although upstaged by his elder brother, amongcrooners the personable Bob Crosby had adistinctive timbre and a style of his own, albeithe was never really a jazz singer. Moresignificantly, however, he won world renown asthe front-man of one of the best-organisedAmerican swing-bands of the 1930s – atrailblazer in the New Orleans Revival, it was theone which did most to revitalise Dixieland. BornGeorge Robert Crosby in Spokane, Washingtonon 25 August 1913, Bob first made animpression as a singer during 1933 and 1934with the Anson Weeks orchestra and famouslydoubled briefly as a vocalist with the DorseyBrothers’ Orchestra (despite the vociferousopposition of Tommy, who rated him a poorsecond to the great Bing).

Later in 1934 Bob joined Ben Pollack andwas with the band when it broke up inCalifornia. By the time it opened at theRoseland Ballroom in June 1935, however, theincipient Bob Crosby Orchestra was alreadytaking shape under another figure, Pollack’sRussian-born ex-tenor-saxophonist Gilbert ‘Gil’Rodin (1906-1974). The entrepreneurial Rodinwas prime mover of the co-operative groupaffectionately dubbed ‘Pollack’s Orphans’ and itwas he who initially hired (via theRockwell–O’Keefe Agency) the casual, easy-

going Bob to front the new band, withsaxophonist Dean Kincaide (b. Houston, Texas,1911) and bassist-composer Bob Haggart (b.New York, 1914) as its forward-lookingarrangers. Rodin would remain the group’sleader and musical director (he was laterappointed its president) and was also Bob’spersonal manager, remaining faithful until theorganisation disbanded in 1942 when several ofits members, including himself, were draftedinto the US forces.

Under Rodin’s wing, alongside its notinconsiderable stake in the schmaltzy Swingmarket (evidenced by a succession of hitsstarting with “In A Little Gypsy Tea Room” in1935) the Crosby Orchestra swiftly became thepre-eminent, all-white, Dixieland big-band,albeit the band’s earliest critics viewed its slavishhomage to traditional 1920s Chicago and NewOrleans as obsolescent and retrograde. Its mostprestigious residency, at the Black HawkRestaurant (1938-1939), was followed by twostints on the commercial radio show CamelCaravan, the first replacing Benny Goodman.The band’s members, at first hampered liketheir dancing public by the rigid exigencies ofSwing, consciously looked to the music of earlierdecades and a high proportion of the band’scommercial and jazz releases (Decca Records

were at first unsure of the market for Dixieland)reflected a conscious policy of reviving the triedand familiar.

However, as the perception that white bandscould – and should – be as hot as their blackcounterparts appeared to be growing at thesame rate as the audience for Goodman-styleSwing, radical changes were soon to beinstituted. An energetic band-within-the-bandsmall group, dubbed the Bobcats, soonassuaged any disappointed jazz fans. Between1936 and the musicians’ strike of 1942 a goodthird of the band’s recorded output wasdevoted to Bob Cats arrangements (effectedprincipally by Haggart) and already by April1936 the full band had begun to follow suit with“Muskrat Ramble” and “Dixieland Shuffle”, thefirst in a long line of Dixieland items.

The Bob Cats are nowadays bestremembered for a string of sides generally ratedclassic Dixieland re-creations. No doubtencouraged by the popularity of a longer list offull-band numbers (notably “Royal GardenBlues”, “Wolverine Blues” and the band’s virtualtheme-tune “South Rampart Street Parade” –allin fine Haggart or Matlock arrangements, theseare still standards of the idiom) the Bob Catsfollowed suit with a steady stream of titleswhich also reached a ready international market.These included their own ‘theme’ March Of TheBob Cats, Palesteena (a revival of a ConConrad standard first introduced in a vocalversion by Frank Crumit, in 1921), Five PointBlues, Call Me A Taxi and I Hear You Talking

(fine creations variously tailored by the band’stalented sidemen-arrangers Bauduc, HaggartLawson, Miller and Zurke), plus a host of other‘revivals’ including Zez Confrey’s Stumbling(1922) and Carmen Lombardo’s Coquette(1928), with characteristic pseudo-orientalrevivals like Washington And Lee Swing (1910)and Hindustan (1918) set proudly alongside thenew, including British arranger Arthur Young’simported settings of Shakespeare and “The BigCrash From China” and Big Foot Jump.

The orchestra’s founding memberscomprised a number with either direct NewOrleans pedigree or New Orleans influences.Prominent among the key figures of its seven-year existence were the trumpeters Yank Lawson(b. Trenton, Missouri, 1911) and BillyButterfield (b. Middletown, Ohio, 1917-1988);the clarinettists Irving Fazola (b. New Orleans,1912-1949), Matty Matlock (b. Paducah,Kentucky, 1907-1978) and Eddie Miller (b. NewOrleans, 1911) – their co-presence inspired thenickname ‘Band of the Clarinets’; guitaristNappy Lamare (b. New Orleans, 1907-1988);pianists Bob Zurke (b. Detroit, 1912-1944), JoeSullivan (b. Chicago, 1906-1971) and Jess Stacy(b. Bird’s Point, Missouri, 1904) and drummerRay Bauduc (b. New Orleans, 1908-1988).

After distinguished service in the US Marinesduring World War II (he fronted a band in thePacific), from the immediate post-war periodonwards Bob Crosby continued his career as asolo vocalist on the American nightclub circuit.He led his own big-bands, frequently re-

assembled the available remaining Bobcats forjazz gigs and was regularly a personable MCand host on TV and radio. In later years hetoured jazz festivals and made a notedappearance before Ronald Reagan at the WhiteHouse in 1985. After his original groupdisbanded in 1942, Bob continued a solo career(backed, ad hoc, by his orchestra and/or theBobcats). His screen appearances included Let’s

Make Music (RKO, 1940), Presenting Lily Mars(MGM, 1942), Thousands Cheer (MGM, 1943)and Pardon My Rhythm (Universal, 1944), TwoTickets To Broadway (RKO, 1951) and The FivePennies (Paramount, 1959).

Bob Crosby died in La Jolla, California, on9 March 1993.

Peter Dempsey, 2003

BOB CROSBY’S BOB CATS‘Palesteena’ Original Recordings 1937

13 November 13 1937: Yank Lawson, trumpet;Warren Smith, trombone; Matty Matlock,clarinet; Eddie Miller, tenor sax, clarinet (track2 only); Bob Zurke, piano; Nappy Lamare,guitar; Bob Haggart, string bass; Ray Bauduc,drums

14 March 1938: (Track 1 only) Yank Lawson,trumpet; Warren Smith, trombone; MattyMatlock, clarinet; Eddie Miller, tenor sax; BobZurke, piano; Nappy Lamare, guitar; HaigStephens, string bass

14 March 1938: (Tracks 5, 7, 9 & 10) YankLawson, trumpet; Warren Smith, trombone;Irving Fazola, clarinet; Eddie Miller, tenor sax;Bob Zurke, piano; Nappy Lamare, guitar; BobHaggart, string bass

14 October 1938: (Four of the Bob Cats)Eddie Miller, tenor sax; Bob Zurke, piano; BobHaggart, string bass; Ray Bauduc, drums

6 February 1939: Billy Butterfield, trumpet;Warren Smith, trombone; Irving Fazola,clarinet; Eddie Miller, tenor sax; Bob Zurke,piano; Nappy Lamare, guitar; Bob Haggart,string bass; Ray Bauduc, drums

20 April 1939: Billy Butterfield, trumpet;Warren Smith, trombone; Irving Fazola,clarinet; Eddie Miller, tenor sax; Floyd Bean,piano; Nappy Lamare, guitar; Bob Haggart,string bass; Ray Bauduc, drums

18 & 25 September 1939: Billy Butterfield,trumpet; Warren Smith, trombone; IrvingFazola, clarinet; Eddie Miller, tenor sax; JoeSullivan, piano; Nappy Lamare, guitar; BobHaggart, string bass; Ray Bauduc, drums

6 & 28 February, & 11 March 1940 : BillyButterfield, trumpet; Warren Smith, trombone;Irving Fazola, clarinet; Eddie Miller, tenor sax;Jess Stacy, piano; Nappy Lamare, guitar; BobHaggart, string bass; Ray Bauduc, drums

Personnel

120681bk Bob Cats 12/11/03 11:01 PM Page 1

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Although upstaged by his elder brother, amongcrooners the personable Bob Crosby had adistinctive timbre and a style of his own, albeithe was never really a jazz singer. Moresignificantly, however, he won world renown asthe front-man of one of the best-organisedAmerican swing-bands of the 1930s – atrailblazer in the New Orleans Revival, it was theone which did most to revitalise Dixieland. BornGeorge Robert Crosby in Spokane, Washingtonon 25 August 1913, Bob first made animpression as a singer during 1933 and 1934with the Anson Weeks orchestra and famouslydoubled briefly as a vocalist with the DorseyBrothers’ Orchestra (despite the vociferousopposition of Tommy, who rated him a poorsecond to the great Bing).

Later in 1934 Bob joined Ben Pollack andwas with the band when it broke up inCalifornia. By the time it opened at theRoseland Ballroom in June 1935, however, theincipient Bob Crosby Orchestra was alreadytaking shape under another figure, Pollack’sRussian-born ex-tenor-saxophonist Gilbert ‘Gil’Rodin (1906-1974). The entrepreneurial Rodinwas prime mover of the co-operative groupaffectionately dubbed ‘Pollack’s Orphans’ and itwas he who initially hired (via theRockwell–O’Keefe Agency) the casual, easy-

going Bob to front the new band, withsaxophonist Dean Kincaide (b. Houston, Texas,1911) and bassist-composer Bob Haggart (b.New York, 1914) as its forward-lookingarrangers. Rodin would remain the group’sleader and musical director (he was laterappointed its president) and was also Bob’spersonal manager, remaining faithful until theorganisation disbanded in 1942 when several ofits members, including himself, were draftedinto the US forces.

Under Rodin’s wing, alongside its notinconsiderable stake in the schmaltzy Swingmarket (evidenced by a succession of hitsstarting with “In A Little Gypsy Tea Room” in1935) the Crosby Orchestra swiftly became thepre-eminent, all-white, Dixieland big-band,albeit the band’s earliest critics viewed its slavishhomage to traditional 1920s Chicago and NewOrleans as obsolescent and retrograde. Its mostprestigious residency, at the Black HawkRestaurant (1938-1939), was followed by twostints on the commercial radio show CamelCaravan, the first replacing Benny Goodman.The band’s members, at first hampered liketheir dancing public by the rigid exigencies ofSwing, consciously looked to the music of earlierdecades and a high proportion of the band’scommercial and jazz releases (Decca Records

were at first unsure of the market for Dixieland)reflected a conscious policy of reviving the triedand familiar.

However, as the perception that white bandscould – and should – be as hot as their blackcounterparts appeared to be growing at thesame rate as the audience for Goodman-styleSwing, radical changes were soon to beinstituted. An energetic band-within-the-bandsmall group, dubbed the Bobcats, soonassuaged any disappointed jazz fans. Between1936 and the musicians’ strike of 1942 a goodthird of the band’s recorded output wasdevoted to Bob Cats arrangements (effectedprincipally by Haggart) and already by April1936 the full band had begun to follow suit with“Muskrat Ramble” and “Dixieland Shuffle”, thefirst in a long line of Dixieland items.

The Bob Cats are nowadays bestremembered for a string of sides generally ratedclassic Dixieland re-creations. No doubtencouraged by the popularity of a longer list offull-band numbers (notably “Royal GardenBlues”, “Wolverine Blues” and the band’s virtualtheme-tune “South Rampart Street Parade” –allin fine Haggart or Matlock arrangements, theseare still standards of the idiom) the Bob Catsfollowed suit with a steady stream of titleswhich also reached a ready international market.These included their own ‘theme’ March Of TheBob Cats, Palesteena (a revival of a ConConrad standard first introduced in a vocalversion by Frank Crumit, in 1921), Five PointBlues, Call Me A Taxi and I Hear You Talking

(fine creations variously tailored by the band’stalented sidemen-arrangers Bauduc, HaggartLawson, Miller and Zurke), plus a host of other‘revivals’ including Zez Confrey’s Stumbling(1922) and Carmen Lombardo’s Coquette(1928), with characteristic pseudo-orientalrevivals like Washington And Lee Swing (1910)and Hindustan (1918) set proudly alongside thenew, including British arranger Arthur Young’simported settings of Shakespeare and “The BigCrash From China” and Big Foot Jump.

The orchestra’s founding memberscomprised a number with either direct NewOrleans pedigree or New Orleans influences.Prominent among the key figures of its seven-year existence were the trumpeters Yank Lawson(b. Trenton, Missouri, 1911) and BillyButterfield (b. Middletown, Ohio, 1917-1988);the clarinettists Irving Fazola (b. New Orleans,1912-1949), Matty Matlock (b. Paducah,Kentucky, 1907-1978) and Eddie Miller (b. NewOrleans, 1911) – their co-presence inspired thenickname ‘Band of the Clarinets’; guitaristNappy Lamare (b. New Orleans, 1907-1988);pianists Bob Zurke (b. Detroit, 1912-1944), JoeSullivan (b. Chicago, 1906-1971) and Jess Stacy(b. Bird’s Point, Missouri, 1904) and drummerRay Bauduc (b. New Orleans, 1908-1988).

After distinguished service in the US Marinesduring World War II (he fronted a band in thePacific), from the immediate post-war periodonwards Bob Crosby continued his career as asolo vocalist on the American nightclub circuit.He led his own big-bands, frequently re-

assembled the available remaining Bobcats forjazz gigs and was regularly a personable MCand host on TV and radio. In later years hetoured jazz festivals and made a notedappearance before Ronald Reagan at the WhiteHouse in 1985. After his original groupdisbanded in 1942, Bob continued a solo career(backed, ad hoc, by his orchestra and/or theBobcats). His screen appearances included Let’s

Make Music (RKO, 1940), Presenting Lily Mars(MGM, 1942), Thousands Cheer (MGM, 1943)and Pardon My Rhythm (Universal, 1944), TwoTickets To Broadway (RKO, 1951) and The FivePennies (Paramount, 1959).

Bob Crosby died in La Jolla, California, on9 March 1993.

Peter Dempsey, 2003

BOB CROSBY’S BOB CATS‘Palesteena’ Original Recordings 1937

13 November 13 1937: Yank Lawson, trumpet;Warren Smith, trombone; Matty Matlock,clarinet; Eddie Miller, tenor sax, clarinet (track2 only); Bob Zurke, piano; Nappy Lamare,guitar; Bob Haggart, string bass; Ray Bauduc,drums

14 March 1938: (Track 1 only) Yank Lawson,trumpet; Warren Smith, trombone; MattyMatlock, clarinet; Eddie Miller, tenor sax; BobZurke, piano; Nappy Lamare, guitar; HaigStephens, string bass

14 March 1938: (Tracks 5, 7, 9 & 10) YankLawson, trumpet; Warren Smith, trombone;Irving Fazola, clarinet; Eddie Miller, tenor sax;Bob Zurke, piano; Nappy Lamare, guitar; BobHaggart, string bass

14 October 1938: (Four of the Bob Cats)Eddie Miller, tenor sax; Bob Zurke, piano; BobHaggart, string bass; Ray Bauduc, drums

6 February 1939: Billy Butterfield, trumpet;Warren Smith, trombone; Irving Fazola,clarinet; Eddie Miller, tenor sax; Bob Zurke,piano; Nappy Lamare, guitar; Bob Haggart,string bass; Ray Bauduc, drums

20 April 1939: Billy Butterfield, trumpet;Warren Smith, trombone; Irving Fazola,clarinet; Eddie Miller, tenor sax; Floyd Bean,piano; Nappy Lamare, guitar; Bob Haggart,string bass; Ray Bauduc, drums

18 & 25 September 1939: Billy Butterfield,trumpet; Warren Smith, trombone; IrvingFazola, clarinet; Eddie Miller, tenor sax; JoeSullivan, piano; Nappy Lamare, guitar; BobHaggart, string bass; Ray Bauduc, drums

6 & 28 February, & 11 March 1940 : BillyButterfield, trumpet; Warren Smith, trombone;Irving Fazola, clarinet; Eddie Miller, tenor sax;Jess Stacy, piano; Nappy Lamare, guitar; BobHaggart, string bass; Ray Bauduc, drums

Personnel

120681bk Bob Cats 12/11/03 11:01 PM Page 1

8.1206812 8.1206813 8.1206814

Although upstaged by his elder brother, amongcrooners the personable Bob Crosby had adistinctive timbre and a style of his own, albeithe was never really a jazz singer. Moresignificantly, however, he won world renown asthe front-man of one of the best-organisedAmerican swing-bands of the 1930s – atrailblazer in the New Orleans Revival, it was theone which did most to revitalise Dixieland. BornGeorge Robert Crosby in Spokane, Washingtonon 25 August 1913, Bob first made animpression as a singer during 1933 and 1934with the Anson Weeks orchestra and famouslydoubled briefly as a vocalist with the DorseyBrothers’ Orchestra (despite the vociferousopposition of Tommy, who rated him a poorsecond to the great Bing).

Later in 1934 Bob joined Ben Pollack andwas with the band when it broke up inCalifornia. By the time it opened at theRoseland Ballroom in June 1935, however, theincipient Bob Crosby Orchestra was alreadytaking shape under another figure, Pollack’sRussian-born ex-tenor-saxophonist Gilbert ‘Gil’Rodin (1906-1974). The entrepreneurial Rodinwas prime mover of the co-operative groupaffectionately dubbed ‘Pollack’s Orphans’ and itwas he who initially hired (via theRockwell–O’Keefe Agency) the casual, easy-

going Bob to front the new band, withsaxophonist Dean Kincaide (b. Houston, Texas,1911) and bassist-composer Bob Haggart (b.New York, 1914) as its forward-lookingarrangers. Rodin would remain the group’sleader and musical director (he was laterappointed its president) and was also Bob’spersonal manager, remaining faithful until theorganisation disbanded in 1942 when several ofits members, including himself, were draftedinto the US forces.

Under Rodin’s wing, alongside its notinconsiderable stake in the schmaltzy Swingmarket (evidenced by a succession of hitsstarting with “In A Little Gypsy Tea Room” in1935) the Crosby Orchestra swiftly became thepre-eminent, all-white, Dixieland big-band,albeit the band’s earliest critics viewed its slavishhomage to traditional 1920s Chicago and NewOrleans as obsolescent and retrograde. Its mostprestigious residency, at the Black HawkRestaurant (1938-1939), was followed by twostints on the commercial radio show CamelCaravan, the first replacing Benny Goodman.The band’s members, at first hampered liketheir dancing public by the rigid exigencies ofSwing, consciously looked to the music of earlierdecades and a high proportion of the band’scommercial and jazz releases (Decca Records

were at first unsure of the market for Dixieland)reflected a conscious policy of reviving the triedand familiar.

However, as the perception that white bandscould – and should – be as hot as their blackcounterparts appeared to be growing at thesame rate as the audience for Goodman-styleSwing, radical changes were soon to beinstituted. An energetic band-within-the-bandsmall group, dubbed the Bobcats, soonassuaged any disappointed jazz fans. Between1936 and the musicians’ strike of 1942 a goodthird of the band’s recorded output wasdevoted to Bob Cats arrangements (effectedprincipally by Haggart) and already by April1936 the full band had begun to follow suit with“Muskrat Ramble” and “Dixieland Shuffle”, thefirst in a long line of Dixieland items.

The Bob Cats are nowadays bestremembered for a string of sides generally ratedclassic Dixieland re-creations. No doubtencouraged by the popularity of a longer list offull-band numbers (notably “Royal GardenBlues”, “Wolverine Blues” and the band’s virtualtheme-tune “South Rampart Street Parade” –allin fine Haggart or Matlock arrangements, theseare still standards of the idiom) the Bob Catsfollowed suit with a steady stream of titleswhich also reached a ready international market.These included their own ‘theme’ March Of TheBob Cats, Palesteena (a revival of a ConConrad standard first introduced in a vocalversion by Frank Crumit, in 1921), Five PointBlues, Call Me A Taxi and I Hear You Talking

(fine creations variously tailored by the band’stalented sidemen-arrangers Bauduc, HaggartLawson, Miller and Zurke), plus a host of other‘revivals’ including Zez Confrey’s Stumbling(1922) and Carmen Lombardo’s Coquette(1928), with characteristic pseudo-orientalrevivals like Washington And Lee Swing (1910)and Hindustan (1918) set proudly alongside thenew, including British arranger Arthur Young’simported settings of Shakespeare and “The BigCrash From China” and Big Foot Jump.

The orchestra’s founding memberscomprised a number with either direct NewOrleans pedigree or New Orleans influences.Prominent among the key figures of its seven-year existence were the trumpeters Yank Lawson(b. Trenton, Missouri, 1911) and BillyButterfield (b. Middletown, Ohio, 1917-1988);the clarinettists Irving Fazola (b. New Orleans,1912-1949), Matty Matlock (b. Paducah,Kentucky, 1907-1978) and Eddie Miller (b. NewOrleans, 1911) – their co-presence inspired thenickname ‘Band of the Clarinets’; guitaristNappy Lamare (b. New Orleans, 1907-1988);pianists Bob Zurke (b. Detroit, 1912-1944), JoeSullivan (b. Chicago, 1906-1971) and Jess Stacy(b. Bird’s Point, Missouri, 1904) and drummerRay Bauduc (b. New Orleans, 1908-1988).

After distinguished service in the US Marinesduring World War II (he fronted a band in thePacific), from the immediate post-war periodonwards Bob Crosby continued his career as asolo vocalist on the American nightclub circuit.He led his own big-bands, frequently re-

assembled the available remaining Bobcats forjazz gigs and was regularly a personable MCand host on TV and radio. In later years hetoured jazz festivals and made a notedappearance before Ronald Reagan at the WhiteHouse in 1985. After his original groupdisbanded in 1942, Bob continued a solo career(backed, ad hoc, by his orchestra and/or theBobcats). His screen appearances included Let’s

Make Music (RKO, 1940), Presenting Lily Mars(MGM, 1942), Thousands Cheer (MGM, 1943)and Pardon My Rhythm (Universal, 1944), TwoTickets To Broadway (RKO, 1951) and The FivePennies (Paramount, 1959).

Bob Crosby died in La Jolla, California, on9 March 1993.

Peter Dempsey, 2003

BOB CROSBY’S BOB CATS‘Palesteena’ Original Recordings 1937

13 November 13 1937: Yank Lawson, trumpet;Warren Smith, trombone; Matty Matlock,clarinet; Eddie Miller, tenor sax, clarinet (track2 only); Bob Zurke, piano; Nappy Lamare,guitar; Bob Haggart, string bass; Ray Bauduc,drums

14 March 1938: (Track 1 only) Yank Lawson,trumpet; Warren Smith, trombone; MattyMatlock, clarinet; Eddie Miller, tenor sax; BobZurke, piano; Nappy Lamare, guitar; HaigStephens, string bass

14 March 1938: (Tracks 5, 7, 9 & 10) YankLawson, trumpet; Warren Smith, trombone;Irving Fazola, clarinet; Eddie Miller, tenor sax;Bob Zurke, piano; Nappy Lamare, guitar; BobHaggart, string bass

14 October 1938: (Four of the Bob Cats)Eddie Miller, tenor sax; Bob Zurke, piano; BobHaggart, string bass; Ray Bauduc, drums

6 February 1939: Billy Butterfield, trumpet;Warren Smith, trombone; Irving Fazola,clarinet; Eddie Miller, tenor sax; Bob Zurke,piano; Nappy Lamare, guitar; Bob Haggart,string bass; Ray Bauduc, drums

20 April 1939: Billy Butterfield, trumpet;Warren Smith, trombone; Irving Fazola,clarinet; Eddie Miller, tenor sax; Floyd Bean,piano; Nappy Lamare, guitar; Bob Haggart,string bass; Ray Bauduc, drums

18 & 25 September 1939: Billy Butterfield,trumpet; Warren Smith, trombone; IrvingFazola, clarinet; Eddie Miller, tenor sax; JoeSullivan, piano; Nappy Lamare, guitar; BobHaggart, string bass; Ray Bauduc, drums

6 & 28 February, & 11 March 1940 : BillyButterfield, trumpet; Warren Smith, trombone;Irving Fazola, clarinet; Eddie Miller, tenor sax;Jess Stacy, piano; Nappy Lamare, guitar; BobHaggart, string bass; Ray Bauduc, drums

Personnel

120681bk Bob Cats 12/11/03 11:01 PM Page 1

8.1206815 8.1206816

1. March Of The Bob Cats 2:37(The Bob Cats)Decca 63423-ARecorded 14 March 1938, New York

2. Stumbling 3:13(Zez Confrey) Decca DLA 1060-ARecorded 13 November 1937, Los Angeles

3. Who’s Sorry Now? 2:57(Ted Snyder–Bert Kalmar–Harry Ruby)Decca DLA 1061-ARecorded 13 November 1937, Los Angeles

4. Coquette 3:06(Carmen Lombardo–Johnny Green–Gus Kahn)Decca DLA 1062-ARecorded 13 November 1937, Los Angeles

5. Palesteena 2:53(Con Conrad–J. Russell Robinson)Nappy Lamare, vocalsDecca 63424-ARecorded 14 March 1938, New York

6. You’re Driving Me Crazy! 2:53(Walter Donaldson)Decca DLA 1064-ARecorded 13 November 1937, Los Angeles

7. Slow Mood 3:06(Eddie Miller)Decca 63425-ARecorded 14 March 1938, New York

8. So Far, So Good 2:44(Jimmy Mundy–Eddie White–Jack Lawrence)Marion Mann, vocalsDecca 67242-ARecorded 28 February 1940, New York

9. Big Foot Jump 2:39(Bob Zurke)Decca 63426-ARecorded 14 March 1938, New York

10. Five Point Blues 3:05(Yank Lawson)Decca 63428-ARecorded 14 March 1938, New York

11. Tech Triumph 2:43(Mattie E. Boggs–W.P.Maddux)Bob Crosby, vocalsDecca 67286-ARecorded 11 March 1940, New York

12. Call Me A Taxi 3:16(Bob Haggart–Bob Zurke) Decca 91517-ARecorded 14 October 1938, Chicago

13. I Hear You Talking 2:33(Eddie Miller–Ray Bauduc)Decca 91516-ARecorded 14 October 1938, Chicago

14. Blow, Blow, Thou Winter Wind 2:23(Arthur Young–William Shakespeare)Marion Mann, vocalsDecca 91713-ARecorded 20 April 1939, Chicago

15. It Was A Lover And His Lass 2:43(Arthur Young–William Shakespeare)Marion Mann, vocalsDecca 91714-ARecorded 20 April 1939, Chicago

16. Hindustan 3:14(Oliver G. Wallace–Harold Weeks)Decca 64989-ARecorded 6 February 1939, New York

17. Do You Ever Think Of Me? 2:59(Harry D. Kerr–John Cooper–Earl Burtnett)Nappy Lamare. vocalDecca 67172-ARecorded 6 February 1940, New York

18. The Love Nest 3:10(Louis Achille Hirsch–Otto Abels Harbach)Decca 66664-ARecorded 25 September 1939, New York

19. Washington And Lee Swing 2:48(C.A.Robbins–Thornton W.Allen–M.W.Sheafe)Decca 66662-ARecorded 25 September 1939, New York

20. It’s All Over Now 3:19(Johnny Lange–Lew Porter) Bob Crosby, vocalsDecca 67284-ARecorded 11 March 1940, New York

21. Till We Meet Again 3:17(Richard A. Whiting–Raymond B. Egan)Decca 66601-ARecorded 18 September 1939, New York

Transfers, Production & Digital Noise Reductionby Peter Dempsey

Original monochrome photo of Bob Crosby’s BobCats from MAXJAZZ/Lebrecht Music Collection.Clockwise from bottom left: Bob Crosby, Ray Bauduc, Nappy Lamare, EddieMiller, Bob Haggart, Jess Stacy, Billy Butterfield,Warren Smith, Irving Fazola

Also available in the Naxos Jazz Legends series ...

8.120632* 8.120652* 8.120712

* Not available in the USA

120681bk Bob Cats 12/11/03 11:01 PM Page 2

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1. March Of The Bob Cats 2:37(The Bob Cats)Decca 63423-ARecorded 14 March 1938, New York

2. Stumbling 3:13(Zez Confrey) Decca DLA 1060-ARecorded 13 November 1937, Los Angeles

3. Who’s Sorry Now? 2:57(Ted Snyder–Bert Kalmar–Harry Ruby)Decca DLA 1061-ARecorded 13 November 1937, Los Angeles

4. Coquette 3:06(Carmen Lombardo–Johnny Green–Gus Kahn)Decca DLA 1062-ARecorded 13 November 1937, Los Angeles

5. Palesteena 2:53(Con Conrad–J. Russell Robinson)Nappy Lamare, vocalsDecca 63424-ARecorded 14 March 1938, New York

6. You’re Driving Me Crazy! 2:53(Walter Donaldson)Decca DLA 1064-ARecorded 13 November 1937, Los Angeles

7. Slow Mood 3:06(Eddie Miller)Decca 63425-ARecorded 14 March 1938, New York

8. So Far, So Good 2:44(Jimmy Mundy–Eddie White–Jack Lawrence)Marion Mann, vocalsDecca 67242-ARecorded 28 February 1940, New York

9. Big Foot Jump 2:39(Bob Zurke)Decca 63426-ARecorded 14 March 1938, New York

10. Five Point Blues 3:05(Yank Lawson)Decca 63428-ARecorded 14 March 1938, New York

11. Tech Triumph 2:43(Mattie E. Boggs–W.P.Maddux)Bob Crosby, vocalsDecca 67286-ARecorded 11 March 1940, New York

12. Call Me A Taxi 3:16(Bob Haggart–Bob Zurke) Decca 91517-ARecorded 14 October 1938, Chicago

13. I Hear You Talking 2:33(Eddie Miller–Ray Bauduc)Decca 91516-ARecorded 14 October 1938, Chicago

14. Blow, Blow, Thou Winter Wind 2:23(Arthur Young–William Shakespeare)Marion Mann, vocalsDecca 91713-ARecorded 20 April 1939, Chicago

15. It Was A Lover And His Lass 2:43(Arthur Young–William Shakespeare)Marion Mann, vocalsDecca 91714-ARecorded 20 April 1939, Chicago

16. Hindustan 3:14(Oliver G. Wallace–Harold Weeks)Decca 64989-ARecorded 6 February 1939, New York

17. Do You Ever Think Of Me? 2:59(Harry D. Kerr–John Cooper–Earl Burtnett)Nappy Lamare. vocalDecca 67172-ARecorded 6 February 1940, New York

18. The Love Nest 3:10(Louis Achille Hirsch–Otto Abels Harbach)Decca 66664-ARecorded 25 September 1939, New York

19. Washington And Lee Swing 2:48(C.A.Robbins–Thornton W.Allen–M.W.Sheafe)Decca 66662-ARecorded 25 September 1939, New York

20. It’s All Over Now 3:19(Johnny Lange–Lew Porter) Bob Crosby, vocalsDecca 67284-ARecorded 11 March 1940, New York

21. Till We Meet Again 3:17(Richard A. Whiting–Raymond B. Egan)Decca 66601-ARecorded 18 September 1939, New York

Transfers, Production & Digital Noise Reductionby Peter Dempsey

Original monochrome photo of Bob Crosby’s BobCats from MAXJAZZ/Lebrecht Music Collection.Clockwise from bottom left: Bob Crosby, Ray Bauduc, Nappy Lamare, EddieMiller, Bob Haggart, Jess Stacy, Billy Butterfield,Warren Smith, Irving Fazola

Also available in the Naxos Jazz Legends series ...

8.120632* 8.120652* 8.120712

* Not available in the USA

120681bk Bob Cats 12/11/03 11:01 PM Page 2

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Research, Transfers and Digital Restoration by Peter DempseyNOTES AND FULL RECORDING DETAILS INCLUDED

www.naxos.com Made in the EUh & g 2004 Naxos Rights International Ltd Design: Ron Hoares

BOB CROSBY’S BOB CATS “PALESTEENA” Original 1937-1940 Recordings

8.120681

ADD

TotalTime61:35

1. March Of The Bob Cats 2:372. Stumbling 3:133. Who’s Sorry Now? 2:574. Coquette 3:065. Palesteena 2:536. You’re Driving Me Crazy! 2:537. Slow Mood 3:068. So Far, So Good 2:449. Big Foot Jump 2:39

10. Five Point Blues 3:0511. Tech Triumph 2:4312. Call Me A Taxi 3:1613. I Hear You Talking 2:3314. Blow, Blow, Thou Winter Wind 2:2315. It Was A Lover And His Lass 2:4316. Hindustan 3:1417. Do You Ever Think Of Me? 2:5918. The Love Nest 3:1019. Washington And Lee Swing 2:4820. It’s All Over Now 3:1921. Till We Meet Again 3:17