Rosemary Clooney Albums (41)
'Back to Back'
Release Date 10/27/2003
Tracks 10
Label K-Tel Entertainment
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'The Last Concert'
Release Date 11/19/2002
Tracks 14
Label Concord Jazz
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What The Critics Say
Rosemary Clooney's performance at the Neal S. Blaisdell Concert Hall in Honolulu, HI, on November 16, 2001, backed by the big band Big Kahuna & the Copa Cat Pack and the Honolulu Symphony Orchestra, turned out to be her final show before her death on June 29, 2002. Not surprisingly, though, there isn't anything about it to suggest finality specifically. But, as an appearance by a veteran performer with a long career to draw upon, it necessarily had a retrospective feel and, occurring only two months after the September 11, 2001, terrorist attacks, it concluded with a reverent tone, Clooney's first recording of "God Bless America." Following an instrumental overture canvassing some of her better known songs (none of which she went on to actually sing in the show), Clooney opened with "Sentimental Journey," the first of her borrowings from other "girl singers," since it is associated with Doris Day from her period with Les Brown's band. The song set the stage for a collection of standards written by the likes of Comden and Green and Jule Styne ("Just in Time"), Harold Arlen and E.Y. Harburg ("Happiness Is Just a Thing Called Joe"), Hoagy Carmichael ("Rockin' Chair"), Jerome Kern and Oscar Hammerstein II ("Ol' Man River"), George and Ira Gershwin ("They Can't Take That Away From Me"), and Irving Berlin ("God Bless America"). Clooney also paid tribute to other singers, including her sister Betty Clooney, Bing Crosby, and Frank Sinatra. The album contains many of Clooney's stage remarks, which are punctuated with self-deprecating humor. (She notes, for example, that the last time she played Hawaii was the day it became a state and now she is back "by popular demand.") On the whole, the show is a typically wonderful Clooney show that just happens to have been her last. ~ William Ruhlmann, All Music Guide
'Sentimental Journey: The Girl Singer and Her New Big Band'
Release Date 8/14/2001
Tracks 16
Label Concord Jazz
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What The Critics Say
The cover of this titillating project by one of our best loved singers is a bit understated. "The Girl Singer and Her New Big Band" assumes that we know Clooney's legendary performances over the years, and that we're eager to hear her with another great band, doing clever twists on songs both very familiar ("That Old Black Magic" and the title track) and less known (Hoagy Carmichael's "Rockin' Chair," "The Singer"). And if we're fans, then we definitely are, because every performance by the original girl singer on the road is certainly gold. This project grew out of her month-long residence at Feinstein's at New York's Regency Hotel, where she was accompanied by Matt Catingub's band with the funny, sassy Latin name. Catingub's been a busy musician in Hawaii for years, and his 12-piece outfit is a perfect fit for Clooney's crisp, deliberate style. He's in good company considering that she's shared stages with Duke Ellington, Benny Goodman, and Woody Herman. The centerpiece is the title track, which longtime pianist/arranger John Oddo created to maximize intimacy, punctuated by big brassy exclamation points between verses. Clooney is happy to let the band take dazzling solo passages between her own, and several exciting jazz discoveries can be found in trumpeter Dave Scott (featured on the peppy "I've Got My Love to Keep Me Warm") and saxman Matt Cowan. Catingub's soft-spoken piano work blends beautifully behind Clooney's soothing vocal on "You Go to My Head," and then takes command on an elegant solo. Clooney thanks him on the packaging for making her feel 25 again, but who needs to go there? She should have called it "Swingin' Over 70" -- but of course age is just a number, right? ~ Jonathan Widran, All Music Guide
What The Critics Say
As one of the most loved jazz vocalists, modern jazz heroines, and prolific vocalists, Rosemary Clooney gives a very beautiful and feminine side to Brazilian jazz on Brazil, a sensitive musical feeling of 16 ripe standards. This wonderful collection is dedicated to Antonio Carlos Jobim, Frank Sinatra, and Nelson Riddle through her amazing ambience of sensitive phrasing, lovely nuance, and splendid rhythmic shadings. Rosemary Clooney is joined by the lovely Diana Krall on "Boy from Ipanema" in a stunning vocal duet accompanied by Oscar Castro-Neves on guitar. John Pizzarelli sings "Wave," with the light, airy brilliance of a light kept burning throughout the night, and duets with Clooney on "Desafinado," "One Note Samba," "Let Go," "Dindi," and the reprise of the title track, "Brazil." Together they bring a redefined sensitivity and captivation to these Brazilian standards through their excellent harmony and melodic concepts. The songs included on Brazil display the musical integrity, wisdom, and depth of Rosemary Clooney on songs that have withstood the test of popular culture and time. ~ Paula Edelstein, All Music Guide
What The Critics Say
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, All Music Guide
'Mothers & Daughters'
Release Date 4/15/1997
Tracks 17
Label Concord Jazz
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What The Critics Say
From her productive Concord period, Mothers & Daughters is among Rosemary Clooney's strongest sellers. Though tenor saxophonist Scott Hamilton is missing, the selections (some of which deal with children) are often overly sentimental, and the jazz content (despite some brief spots for the reeds of Gary Foster) is nearly nonexistent, Clooney is in reasonably good voice (she was 68 at the time) and it's good to have the classic "Sisters" (from Holiday Inn) on record. ~ Scott Yanow, All Music Guide
'Rosie Sings Bing'
Release Date 4/16/1996
Tracks 10
Label Concord Jazz
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What The Critics Say
Shortly after Bing Crosby's death, his good friend Rosemary Clooney recorded ten songs associated with Bing. Since she had such a wide range of repertoire to choose from, Clooney was able to easily come up with a variety of tunes (mostly dating from the 1930s) that fit her easy-swinging style. With fine support from tenor saxophonist Scott Hamilton, guitarist Cal Collins, pianist Nat Pierce, bassist Monty Budwig and drummer Jake Hanna, the singer is in particularly fine form on such numbers as "Pennies Ffrom Heaven," "I Surrender Dear," "It's Easy to Remember" and "Just One More Chance." ~ Scott Yanow, All Music Guide
'Dedicated to Nelson'
Release Date 1/1/1996
Tracks 16
Label Concord Jazz
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What The Critics Say
During 1956-1957, the Rosemary Clooney television show featured the singer with arrangements provided by Nelson Riddle. Nearly four decades later, pianist/arranger John Oddo and Clooney listened to many hours of audio tapes from the show and picked 16 of Riddle's charts to revive. Since the music was no longer available on paper, it had to be transcribed off of the tapes and in many cases extended beyond the one or two original choruses; writers Eddie Karam and David Berger also assisted on the project. A 17-piece big band was utilized plus (on six of the 16 tunes) seven strings and a harp. Although liner note writer Gary Giddins raves about the music and claims that this project was unprecedented, bands reviving 1920s music transcribe off of records all of the time. Despite some short solos by trumpeter Warren Luening, Tommy Newsom on tenor, altoist Gary Foster. and trombonist Chauncey Welsh, the presence of a swinging rhythm section and the high-quality repertoire, most of the music (which sticks to the melodies) is closer to middle of the road pop than to jazz. Clooney sings in near-peak form throughout this labor of love, and the music is pleasing but the results are rather predictable. ~ Scott Yanow, All Music Guide
What The Critics Say
During her very rich Concord years, which resulted in a renaissance for the veteran singer, Rosemary Clooney was generally featured singing swing standards with a jazz rhythm section, tenor saxophonist Scott Hamilton, and (in the early days) cornetist Warren Vaché. But by the early '90s, Clooney was being heard more often than not in orchestral settings. This CD celebrates her first 50 years in show business. Although she does not re-create her hits, the 16 songs that Clooney chose to sing on this interesting set signify different periods of her life. "Danny Boy" was a melody she sang as a child; "The Coffee Song" (which she originally performed with her late sister Betty Clooney) has her niece Cathi Campo joining in a duet; "I'm Confessin' (That I Love You)" was a song that her former employer Tony Pastor used to perform nightly; there are tributes to Duke Ellington and Nelson Riddle, etc. Some of the numbers find Clooney accompanied by a string orchestra; there is a big band on a few tunes; and short solos along the way are taken by altoist Gary Foster, trumpeter Warren Luening, and pianist John Oddo (her musical director). Rosemary Clooney's voice is still in fine form on this outing, and there are enough strong sections (along with plenty of nostalgic moments) to make the CD easily recommended to Clooney fans. ~ Scott Yanow, All Music Guide
'Still on the Road'
Release Date 1/1/1993
Tracks 15
Label Concord Jazz
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What The Critics Say
On this CD, Rosemary Clooney broke away from using a jazz combo with Scott Hamilton and instead is accompanied by a big band mostly arranged and conducted by her musical director, pianist John Oddo. The 15 songs frequently have something to do with being on the road or the significance of particular locations, including such songs as "On the Road Again," "How Are Things in Glocca Morra?," Cole Porter's "Take Me Back to Manhattan," and Dave Frishberg's "Let's Eat Home." Among the highlights are a surprisingly touching version of "(Back Home Again In) Indiana," the witty "Let's Get Away from It All," Willard Robison's obscure "Moonlight Mississippi," and a delightful version of "Road to Morocco," on which Clooney sings with Jack Sheldon. Most selections feature one or two solos from the horn section, including the beautiful-toned trombonist Chauncey Welsh; trumpeter Warren Luening; and either Tommy Newsom, Nino Tempo, or Bob Tricarico on tenor. Rosemary Clooney's voice still had 95 percent of its power on this easily recommended set. ~ Scott Yanow, All Music Guide
