|
contents | jazz | |||||||||||||
| New York-based Jazz Vocalist Catherine Dupuis Releases Third CD "The Rules of the Road" There are few genuine jazz vocalists on the scene today that posess the skill, taste, thrilling vocal instrument and charming stage presence of Catherine Dupuis. She is a much-respected presence on the New York and international jazz scene, and has consistently produced recordings (I Hear Music and Moment to Moment) that are not only representative of her unique and refreshing perspective on jazz, but have also received raves from the media and the listening public at large. On May 19th, 2005, Catherine Dupuis will be releasing her latest effort, The Rules of the Road. With arrangements and orchestrations by noted pianist, composer and conductor, Russ Kassoff (Frank Sinatra, Carole Sloane, Liza Minnelli, Rita Moreno, etc.) and an array of first call jazz artists in the studio,The Rules of the Road is without a doubt, Ms. Dupuis’ most ambitious project to date. Featured on the new recording are Russ Kassoff on piano; Martin Wind on bass; Rick Cutler on drums; Bucky Pizzarelli and Joe Cohn on acoustic guitar; Marvin Stamm on trumpet and flugelhorn; Ted Nash on alto sax; Lawrence Feldman on flute, alto & soprano sax; Bruce BonVissuto on trombone; Emedin Rivera and Roger Squitero on percussion; Dan Block on alto flute and Laura Seaton-Finn and Susan Lorentsen on violins. Included in The Rules of the Road are the Cy Coleman/Carolyn Leigh title track. This rarely performed tune was suggested to Catherine by Russ Kassoff, who had heard the original Rosemary Clooney recording on her album, Thanks For Nothing. Catherine takes it, adds her own unique twist, and makes it her own. Kassoff’s laid-back swing arrangment is a perfect compliment for Dupuis voice. Richard Rogers and Oscar Hammerstein wrote their gorgeous love song, “I Have Dreamed” for their hit musical, “The King & I”. Unfortunately, the song was later cut from the film version, which featured a lip-synching Deborah Kerr to a vocal track by veteran chirp, Marnie Nixon. Kassoff’s gentle bossa-nova version, coupled with the gorgeous strings and incomparable guitar work of Bucky Pizzarelli make this a stand-out. Catherine’s voice gently floats through the tune, wringing out every last drop of romance from the lyric. Next up is a rousing rendition of the “Chicago” mega-hit, “Beginnings” (Robert William Lamm). Ross Kassoff has said that although Sinatra never sang this tune, it was fun to write an arrangement as if it were for Sinatra. “Someone At Last” by Harold Arlen and Ira Gershwin was written specifically for Judy Garland as the basis of a huge production number in her comeback film “A Star Is Born”. Catherine puts her own stamp on this beautiful, and under-performed piece of special material. The Nikolas Brodszky/Sammy Cahn standard “Wonder Why” is a gentle swinger for Catherine – reminiscent of the great Carmen MaCrae, and includes an athletic scat section. The original Russ Kassoff/Deirdre Broderick composition “I Remember”, moody and introspective, this song was originally written as a sax solo for “The Russ Kassoff Big Band”. Catherine’s languid interpretation works perfectly with the sensual melodic line. Also included are the Frank Loesser standard, “I’ve Never Been in Love Before” (complete with strings, over a lilting bossa nova); another Kassoff/Broderick ballad, “When He’s Near My Piano”, sung by Catherine with sensitivity, precision and unmitigated sweetness; Cy Coleman and Carolyn Leigh’s burning swinger, “The Best is Yet to Come”, with a burning horn arrangement, matched only by Catherine’s vocal intensity; A Samba/Bossa take on Chick Corea and Neville Potter’s “You’re Everything” (originally performed and recorded by Flora Purim); Broadway composer Lionel Bart’s “Who Will Buy?” from the hit stage musical and film, “Oliver”. The film version has a special place in Catherine’s heart, as it was one of the first films that she every saw. The impact of Dickens mesmerizing story-telling coupled with the huge production numbers and re-creation of mid 19th Century London, left an indelible mark on Catherine. This version is really a modal blues, arranged very specifically as a platform for Catherine to explore some traditional vocal sounds of her Mohawk/Ojibwa ancestry, as well as to express the emotional and anti-materialistic message of the lyric. The final two tracks on the CD include the Kassoff/Broderick composition, “You Are All the World to Me”, which features the exquisite piano work of Russ Kassoff….and the rousing closer—aptly titled, “Lonesome Road” (Nathaniel Shilkret/Gene Austin).. write your comments about the article :: © 2005 Jazz News :: home page |