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Reviewers: Don Mather, Dick Stafford, John Eyles, Robert Gibson, Ian Lace, Colin Clarke, Jack Ashby

& his BOB CATS
March of the Bob Cats



  1. March of the Bob Cats
  2. Stumbling
  3. Who’s Sorry Now?
  4. Can’t We Be Friends?
  5. Coquette
  6. Fidgety Feet
  7. You’re Driving Me Crazy
  8. Slow Mood
  9. Big Foot Stomp
  10. The Big Crash from China
  11. Five Point Blues
  12. I Hear you talking
  13. Big Noise from Winnetka
  14. Loopin’ the Loop
  15. Begin the Beguine
  16. Hindustan
  17. Mournin’ Blues
  18. Till We Meet Again
  19. The Love Nest
  20. Spain
  21. All By myself
  22. Jazz me blues
  23. So Far, So Good
  24. That Da Da Strain
  25. Tin Roof Blues
  26. You’ll Be Sorry

Tracks 1 - 11
Yank Lawson - Trumpet
Warren Smith - Trombone
Matty Matlock & Irving Fazola - Clarinet
Eddie Miller - Tenor
Bob Zurke- Piano
Nappy Lamare - Guitar
Bob Haggart & Haig Stephens - Bass
Ray Bauduc - Drums
Track 12
Eddie Miller
Bob Zurke
Bob Haggart
Ray Bauduc
Track 13
Track 13
Bob Haggart
Ray Bauduc
Tracks 14 to 23
Sterling Rose, Billy Butterfield - Trumpet
Warren Smith - Trombone
Irving Fazola - Clarinet
Eddie Miller - Tenor
Bob Zurke, Joe Sullivan, Jess Stacy - Piano
Remainder as 1 to 11
Tracks 24 to 26
Yank Lawson - Trumpet
Floyd O’Brien - Trombone
Matty Matlock - Clarinet
Eddie Miller - Tenor
Remainder as previous tracks.

The Bob Crosby Band was a co-operative that came about when Ben Pollock disbanded his organisation in 1934. The co-operative realised that in the market at that time, a personality leader, with a good vocal style was essential. Bob Crosby, younger brother of Bing, filled that slot perfectly and so the band was formed under his name. He was in fact bandleader in name only, but his easy pleasant personality and good vocal style enabled the band to be very successful. This record is a good example; because although it is credited to Bob Crosby, he only sings on the last track! The Andrews Sisters make a guest appearance on track 15 and Marion Mann has the vocal on track 21.

The Bob Cats started out as a band within a band, but they were a winning formula with their happy Dixieland style and Bob later organised the band whenever work was available, for many years in the post war period.

A glance at the personnel shows that the band could afford the best and the arrangements, many of which were written by bass player Bob Haggart were complex enough to keep the musicians interested, but not so complex that changes to personnel would cause a major disruption. Both Harry Gold and Joe Daniels ran similar bands in the UK, many of Harry Gold’s arrangements were published and having played Tenor in a band that played them, I can confirm they are great fun to play and not that easy to play well!

If you are a fan of arranged Dixieland with room for many improvised solos, this record is for you.

Don Mather

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