Jazz Articles about Catherine Dupuis

Catherine Dupuis: The Rules Of The Road

by Suzanne Lorge
August 11, 2006

Catherine Dupuis's latest album, Rules Of The Road, displays a vibrant collaboration between Dupuis and pianist/arranger/composer Russ Kassoff. The title cut refers to the Cy Coleman tune recorded by the late Rosemary Clooney (henceforth spoken of in the first person for her lingering influence on the so-called “girl singers ). Dupuis and Clooney do different things vocally, but they share some traits as vocalists.

First, both exude warmth and happiness live and in recording; such natural bonhomie cannot ...

Catherine Dupuis: The Rules of The Road

by Michael P. Gladstone
June 17, 2005

On her third album, New York-based jazz/cabaret singer Catherine Dupuis continues to provide a well-balanced set through the use of prime time jazz musicians like Marvin Stamm, Ted Nash, and Bucky Pizzarelli. The album was arranged by her pianist, Russ Kassoff.

The Rules Of The Road gets off to a fine start with a bright version of the Cy Coleman/Carolyn Leigh title tune. After a quiet and rarely heard verse from the Rodgers & Hammerstein classic “I Have ...

Catherine Dupuis: Moments

by Dave Nathan
June 1, 2001

Working mostly in a trio scenario, Catherine Dupuis' second album offers a wide-ranging play list, mostly standards, spiked with a couple of originals, a folk tune, and apiece by Sting. Like her first album, top rank pianist Bill Mays is the principal accompanist and is responsible for all but one of the fresh arrangements. Dupuis has the basic tools a good singer needs. She sings in key, can be understood and works hard to capture the meaning and sense of ...

Catherine Dupuis: Moments

by Jack Bowers
June 1, 2001

Having made some unflattering remarks about Catherine Dupuis’ debut album ( I Hear Music, jbQ Records), I’m happy to report that her second one is much better. She’s not quite there yet, but one can almost visualize the learning curve bending upward as she comes to grips with the substance of a lyric and prudently shapes it into a meaningful narrative. I was especially impressed by the decorous treatment of Hoagy Carmichael’s “Skylark,” which Dupuis sings warmly and without gratuitous ...

Catherine Dupuis: I Hear Music

by Jack Bowers
May 1, 1999

If I’m a singer, especially one whose work, as Catherine Dupuis says, is “based on the essence of each lyric,” and whose songs are chosen “because of what they have to say,” the last thing I’d want is to have to shout my way through a clamorous rhythm section to be heard. On the other hand, when Dupuis can be clearly understood on her (presumed) debut disc, as on the Gershwins’ enchanting ballad “For You, For Me, Forevermore” (which for ...