01) Brazil
02) Corcovado
03) Boy From Ipanema (with Diana Krall)
04) Wave
05) Once I Loved
06) Desifinado
07) I Concentrate On You
08) One Note Samba
09) How Insensitive
10) Let Go
11) Dindi
12) Waters Of March
13) Meditation
14) Sweet Happy Life
15) Day In The Life Of A Fool
16) Brazil (reprise)

Rosemary Clooney (vocals)
Oscar Castro-Neves (vocals, guitar)
Diana Krall (vocals, piano)
John Pizzarelli (guitar)
Gary Woodward, Steve Kujala, David Shostac, Brian Scanlon (flute)
Gary Foster (alto saxophone, tenor saxophone)
Nino Tempo (tenor saxophone)
George Graham, Bob Summers (trumpet)
Chauncey Welsch (trombone)
John Oddo (piano)
Jeff Hamilton (drums)
Paulinho Da Costa, Walfredo Reyes (percussion)

Flirting throughout Brazil with the puckish samba guitar of John Pizzarelli, grand dame diva Rosemary Clooney signs, stamps and sends 16 laid-back, lovely postcards from the land where "the mountains and the sea [are] bathed in a lavender light I had never seen before." And while special guests such as Diana Krall and Paulinho da Costa occasionally drop by to sip a caprinha and help Clooney celebrate her Brazilian getaway, the spotlight of the Rio moon never strays far from the featured star. With the singer's register-climbing voice dripping with the wit, wisdom, and heartache of her accumulated years, Brazil plays like impeccably produced end-credits music for one of Blake Edwards' middle-agers-in-love movies. (Clooney in a 10 sequel, perhaps? Can I call Bo Derek?) "Boy From Ipanema" is a sultry and seductive gender-appropriate twist on the Jobim classic, with Clooney and Krall trading verses in pursuit of a young South American hottie. And the title track, made famous by Sinatra on Come Fly With Me, is a sweeping seven-minute affair broken down into a sparse guitar opening, a piano-fueled middle and an all-out big-band finale featuring a tireless Clooney leading the party back to her bungalow. ---Sean Daly, jazztimes.com

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1 Just in Time 2:52
2 Like Someone in Love
3 Willow Weep for Me 4:22
4 Lullaby of Broadway 3:18
5 Old Devil Moon 4:00
6 Everything Happens to Me 4:45
7 I Want to Be a Sideman 4:04
8 In the Wee Small Hours of the Morning 3:54
9 How About You? 3:04
10 The Man That Got Away 5:51 
11 Seems Like Old Times	2:38
12 Guess I'll Hang My Tears Out To Dry	4:19
13 It Just Happened To Happen To Me 	2:51
14 I Got Rhythm	4:08
15 Gypsy In My Soul	3:40
16 If Swing Goes I Go Too	3:53

Alto Saxophone – Brad Leali
Alto Saxophone, Flute – John Kelson
Baritone Saxophone, Bass Clarinet – John Williams
Bass – James Leary
Conductor – Grover Mitchell
Drums – Butch Miles
Guitar – Will Matthews
Piano – John Oddo, Terence Conley
Tenor Saxophone – Gary Foster
Tenor Saxophone, Clarinet – Kenny Hing
Tenor Saxophone, Flute, Clarinet – Doug Miller
Trombone – Alvin Walker II, William Hughes, Clarence Banks, David Keim
Trumpet – Bob Ojeda, Michael Williams, Scotty Barnhart, Shawn Edmonds
Vocals – Rosemary Clooney
+
Vocals – Barry Manilow (9)

When Rosemary Clooney recorded for Concord in the '80s and '90s, her voice was noticeably thinner than it had been in the '50s. This isn't to say that she sounded bad -- despite her limitations and the fact that she didn't have the range or chops of her youth, Clooney could still win you over with her sensitive interpretations of lyrics. And Concord deserves credit for generally providing her with talented arrangers and musicians, as well as tasteful material (as opposed to the type of novelty items she was often given at Columbia in the '50s). On At Long Last, the singer is united with the Count Basie ghost orchestra, which is directed by trombonist Grover Mitchell. Although Clooney was a jazzy pop singer rather than a true jazz singer, the Basie band is definitely a jazz band, and it definitely swings hard on familiar standards like "Old Devil Moon," "Willow Weep for Me" and "Just in Time." Gershwin's "I Got Rhythm" is especially revealing -- a demo of a young Clooney singing that standard in 1946 serves as an introduction to Clooney's late-'90s version, and one hears the contrasts between how she sounded in the '40s and how she sounded 50 years later. While the young Clooney obviously had stronger chops, Clooney at 69 or 70 wasn't without her charms. At Long Last is a likable project that united Clooney with solid musicians -- even if she was past her prime. ---Alex Henderson, AllMusic Review

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01. You Started Something (2:54)
02. It's Like Taking Candy from a Baby (3:00)
03. Grieving for You (3:04)
04. ''A'' You're Adorable (3:11)
05. You're Just in Love (2:53)
06. Beautiful Brown Eyes (3:14)
07. Come on a My House (2:01)
08. Mixed Emotions (3:11)
09. I'm Waiting Just for You (2:23)
10. If Teardrops Were Pennies (1:55)
11. I Wish I Wuz (Hi Ho Fiddle Dee Dee) (2:17)
12. Be My Life's Companion (2:22)
13. Tenderly (3:30)
14. Half as Much (2:49)
15. Botch-A-Me (B-Ba Bacianmi Piccina) (2:18)
16. Too Old to Cut the Mustard (2:54)
17. Blues in the Night (3:37)
18. Who Kissed Me Last Night ? (2:44)
19. You'll Never Know (3:10)
20. If I Had a Penny (2:57)
21. Hey There (3:01)
22. This Ole House (2:24)
23. Sisters (2:47)
24. Mambo Italiano (2:32)
25. Count Your Blessings Instead of Sheep (2:45)

Rosemary Clooney – vocals
Betty Clooney – vocals
Tony Pastor & His Orchestra

She was the daughter of Andrew and Frances Clooney and grew up in Maysville, Kentucky, where she and her sister Betty Clooney used to sing in her grandfather's mayoral election campaigns, which he won three times. She made her singing debut on Cincinnati radio station WLW in 1941 at 13. On WLW she worked with band leader Barney Rapp, who had also worked with Doris Day and Andy Williams at the same station. She attended high school at Our Lady of Mercy in Cincinnati. In 1946 she appeared with her sister in Atlantic City, New Jersey, at the Steel Pier with Tony Pastor's band. In 1949 she went solo and later appeared in Biale Boze Narodzenie (1954), co-starring opposite Bing Crosby and Danny Kaye. Her first big hit was "Come On A My House" in 1951. She married José Ferrer in the 1950s and they had five children between 1955 and 1960. Her marriage to Ferrer was a tempestuous one and she had a nervous breakdown in 1968, but went on to resume her career in 1976. Her life was dramatized in a 1982 made-for-television form, which starred Clint Eastwood's then-girlfriend Sondra Locke.

Her son Gabriel is married to singer Debby Boone, daughter of 1950s pop singer Pat Boone. Her brother, Nick Clooney, is an ABC news anchor in Cincinnatti, and her nephew George Clooney has developed into one of the biggest movie stars of the 21st century. In 1968 she was standing in the Ambassdor Hotel in Los Angeles with Roosevelt Grier when Robert F. Kennedy was assassinated in the hotel kitchen after she had participated in his campaign rally. Her top hits include "Hey There" in 1954, "Tenderly", "This Ole House" and "Half As Much" in 1952. ---Mike McKinley, imdb.com

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1. It Don't Mean A Thing (If It Ain't Got That Swing)
2. I'll Be Around
3. How About You
4. Blues In The Night		play
5. Memories Of You
6. I'm Checkin' Out, Goombye
7. What Is There To Say
8. The Lady Is A Tramp
9. Bad News
10. Hey Baby
11. It's Bad For Me
12. A Touch Of The Blues
13. Together
14. Learnin' The Blues
15. Doncha Go 'Way Mad
16. Sophisticated Lady		play
17. Come Rain Or Come Shine
18. Goodbye

Personnel: 
Rosemary Clooney (vocals); 
Duke Ellington (arranger, piano); 
Martin Berman, Gene Cipriano, Ted Nash (saxophone); 
Willie Cook, Ray Nance, Clark Terry, Cat Anderson (trumpet); 
Benny Goodman (clarinet); 
Milton Weiser (violin); 
Sidney Brecher (viola); 
Raoul Sims (cello); 
Billy Strayhorn, Dick Hyman (piano); 
Mundell Lowe, Tony Rizzi (guitar); 
Jimmy Woode (bass); 
Sam Woodyard, Alvin Stoller, Bobby Donaldson (drums); 
The Paramount Studio Orchestra, Nelson Riddle Orchestra, 
The Hi-Lo's, Ray Charles Singers.

Columbia’s compilation of vintage Rosemary Clooney gems comes with superb support. Throughout her career, the jazz singer always had that kind of expertise surrounding her. Jazz Singer starts off with the Duke Ellington Orchestra in an excerpt from Blue Rose. Clark Terry, Harry Carney and Jimmy Hamilton rip off delightful solos to complement the buoyant singer. Then, from Tenderly, Clooney sings a soothing ballad: one of her most welcomed trademarks. The sound of her voice and the balance from supporting orchestras leads to a pleasant memento. The Hi-Los provide interesting interaction, and later, the Ray Charles Singers offer subtle vocal harmony. Michael Feinstein’s contemporary liner notes provide all the details and circumstances.

With Benny Goodman, Clooney bubbles with enthusiasm as she trades off with the clarinetist. The sounds are sweet and the mood is light. A more dramatic approach comes from the Paramount film Red Garters, as Clooney sings “Bad News” with a poignant studio orchestra. Interpreting show and film tunes from dramatic scenes was one of the singer’s strongest points, and her experience compounded that heartfelt trait in her later years. The selections heard here date from 1951 to 1957. They feature Clooney at the top of her form and in different scenarios. With Urbie Green and Benny Goodman on “Goodbye,” she’s introspective. After such a long career, Rosemary Clooney left us a treasury of recorded memories. This select group of favorites proves delightful throughout. ---Jim Santella

Rosemary Clooney often worked with arrangers who stressed the pop or cabaret aspects of her singing. Of course, she was also a superb jazz vocalist, and, when paired with artists such as pianist/composer Duke Ellington and clarinetist Benny Goodman, her musical gift shone even brighter.

The serene, melancholy "Memories of You" underscores the affinity shared between Clooney and the Goodman trio. This track begins with Goodman's unembellished reading of the tune. However, when Clooney sings, Goodman and pianist Teddy Wilson answer her with virtuosic countermelodies. On this selection, Clooney sings in a lower key, which adds an extra dose of sultriness to the proceedings. Another significant track is "I'm Checkin' Out, Goombye," which showcases the triple threat of Clooney, Ellington, and Goodman. On this tune, Ellington's arrangement sparkles with rich colors and textures, Goodman's solo is light and whimsical, and Clooney's voice is articulate yet carefree. --- Rosemary Clooney often worked with arrangers who stressed the pop or cabaret aspects of her singing. Of course, she was also a superb jazz vocalist, and, when paired with artists such as pianist/composer Duke Ellington and clarinetist Benny Goodman, her musical gift shone even brighter. ---cduniverse.com

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01. Get Me to the Church on Time
02. Angry
03. I Get Along Without You Very Well
04. How Am I to Know
05. You Took Advantage of Me
06. April in Paris
07. I Ain't Got Nobody (And Nobody Cares for Me)
08. Some of These Days
09. By Myself
10. Shine on Harvest Moon
11. Cabin in the Sky
12. Limehouse Blues

Personnel: 
Rosemary Clooney (vocals); 
Al Hendrickson (guitar); 
Abe Most, Plas Johnson (saxophone); 
Don Fagerquist, Pete Condoli (trumpet); 
George Roberts, Tommy Pederson (trombone);
Bill Miller (piano); 
Joe Comfort (bass guitar); 
Alvin Stoller, Frank Lynn (drums);
Nelson Riddle - Conductor, Orchestral Arrangements 

Although Rosemary Clooney worked with Nelson Riddle nearly every week for her '50s radio show, they were together for full LPs much less often -- only this record from 1961 and a 1963 follow-up titled Love. The pair made the most of their first collaboration, devising a program of 12 standards that combined Riddle's pugnacious yet intricate arrangements with Clooney's warm, grand vocals to create a swing record with feeling. Riddle's orchestra roars through his breakneck arrangements for "April in Paris" and "Cabin in the Sky," but Clooney weathers the storm with an elegance that borders on the untroubled. Vocalist fits together with orchestra like hand in glove, since nearly all of the musicians were veterans of her show. [A Bluebird reissue from 2004 added two bonus tracks, "Without Love" and "The Wonderful Season of Love" (the latter was the theme from Return to Peyton Place, directed by her husband, José Ferrer).] ---John Bush, Rovi

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1 	Oh, What A Beautiful Morning 	
2 	People Will Say We're In Love 	
3 	Love, Look Away 	
4 	The Gentleman Is A Dope 	
5 	It Might As Well Be Spring 	
6 	The Sweetest Sounds 	
7 	I Could Write A Book 	
8 	You Took Advantage Of Me 	
9 	The Lady Is A Tramp 	
10 	Little Girl Blue 	
11 	My Romance 	
12 	Yours Sincerely

Rosemary Clooney - Vocals
John Clayton - Bass
Mary Grooms - Choir/Chorus
Pam Hall - Choir/Chorus
Scott Hamilton - Sax (Tenor)
Jenny Hughart - Choir/Chorus
Rick Kasper - Choir/Chorus
Steve Kirwan - Choir/Chorus
Joe La Barbera - Drums
Ivan Ladizinsky - Choir/Chorus
Rob Leverson - Choir/Chorus
Ross Martin - Choir/Chorus
Patty McKay - Choir/Chorus
James Mooney 	- Vocals
John Oddo - Piano, Producer
Julie Pritikin - Choir/Chorus
Richard Rodgers - Composer
Jack Sheldon - Trumpet, Vocals
Dwight Stone - Choir/Chorus
Lisa Webb - Choir/Chorus
Chauncey Welsch - Trombone

This Rosemary Clooney recording differs from all of her previous Concord albums in that she is joined by the L.A. Jazz Choir (a 12-voice group) on half of the dozen selections. The choral backing is a bit of an acquired taste for jazz listeners but Clooney's backup sextet does consist of tenor saxophonist Scott Hamilton, trumpeter Jack Sheldon (who helps out Clooney with his vocal on "People Will Say We're in Love"), trombonist Chauncey Welsch, pianist John Oddo (who is responsible for both the choral and instrumental arrangements), bassist John Clayton and drummer Joe LaBarbera. Clooney interprets the music of Richard Rodgers and lyrics which are split almost evenly between Lorenz Hart and Oscar Hammerstein. Most of the tunes are fairly well-known (including "It Might as Well Be Spring," "I Could Write a Book," "You Took Advantage of Me" and "My Romance") but Rosemary Clooney makes them sound fresh and alive. ---Scott Yanow, Rovi

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01. Any Time - 2:22
02. I Really Don't Want To Know - 2:42
03. Just Because - 2:37
04. Give Myself A Party - 2:31
05. Love Has Come My Way - 2:00
06. I'm So Lonesome I Could Cry - 2:41		play
07. Please Help Me, I'm Falling - 2:46
08. If I Can Stay Away Long Enough - 2:36
09. This Ole House - 1:56
10. How's The World Treating You - 2:40		play
11. Beautiful Brown Eyes - 2:50
12. Kiss Him For Me - 2:22
13. Ain't A Hankerin' - 2:10
14. Protection - 2:30

Personnel:
- Rosemary Clooney – vocals
- Marty Paich – arranger, orchestra conductor
- Dick Pierce, Chet Atkins – producers

Rosemary Clooney (May 23, 1928 – June 29, 2002) was an American singer and actress. She came to prominence in the early 1950s with the novelty hit "Come On-a My House" written by William Saroyan and his cousin Ross Bagdasarian (David Seville), which was followed by other pop numbers such as "Botch-a-Me" (a cover version of the Italian song Ba-Ba-Baciami Piccina by Alberto Rabagliati), "Mambo Italiano", "Tenderly", "Half as Much", "Hey There" and "This Ole House", although she had success as a jazz vocalist. Clooney's career languished in the 1960s, partly due to problems related to depression and drug addiction, but revived in 1974, when her White Christmas co-star Bing Crosby asked her to appear with him at a show marking his 50th anniversary in show business. She continued recording until her death in 2002. She is the aunt of Academy Award winning actor George Clooney.

Rosemary Clooney (ur. 23 maja 1928 w Maysville w stanie Kentucky, zm. 29 czerwca 2002 w Beverly Hills) – amerykańska piosenkarka i aktorka. Największą popularność zdobyła w latach 50. XX w. W 1950 podpisała kontrakt z wytwórnią Columbia. Śpiewała w duetach m.in. z Marlene Dietrich i Guyem Mitchellem. Najpopularniejsze nagrania: "Half as Much", "Hey There", "Blues in the Night", "Mambo Italiano", "If Teardrops Were Pennies", "You're Just in Love", "Beautiful Brown Eyes".

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1. Taking A Chance On Love (2:10)
2. It’s A Most Unusual Day (1:47)
3. Just You, Just Me (1:22)
4. Don’t Take Your Love From Me (2:39)
5. Anything Goes (1:53)
6. Blues In The Night (Take 1) (3:22)
7. But Not For Me (2:38)
8. I Feel A Song Comin’ On (1:25)
9. This Can’t Be Love (1:38)
10. You Make Me Feel So Young (2:18)
11. I Guess I’ll Have To Change My Plan (2:50)
12. You’ll Never Know (2:32)
13. Nice Work If You Can Get It (2:08)
14. In A Little Spanish Town (2:06)
15. Keep It Gay (1:46)
16. Tenderly (2:47)
17. Who Kissed Me Last Night (2:32)
18. I’ve Got My Love To Keep Me Warm (2:38)
19. Thou Swell (1:37)
20. I Get A Kick Out Of You (2:47)
21. If You Were In My Place (What Would You Do) (2:48)
22. You’re In Kentucky Sure As You’re Born (2:02)
23. Shangri La (2:59)
24. Tomorrow I’ll Have To Dream And Remember (3:14)

I Feel A Song Coming On: Lost Radio Recordings features 24 radio performances from the late, great Rosemary Clooney, culled from several radio shows in the 1950s including The Bing Crosby Show for General Electric, The Ford Road Show and The Rosemary Clooney Show. Her classic performances of standards primarily comprise this release, including Cole Porter’s “Anything Goes,” and “I Get A Kick Out of You,” the Gershwins’ “But Not For Me” and “Nice Work if You Can Get It,” and Berlin’s “I’ve Got My Love to Keep Me Warm,” among others. The material on this new CD has been taken from tape sources (not transcription discs) as newly remastered by Mike Milchner, and the booklet features rare photographs and liner notes by Tom Pickles. --- theseconddisc.com

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