| Although not overly famous, Catherine Dupuis shows on this CD that she is one of the most interesting jazz singers of the early 21st century. Her voice is appealing and she is not shy to take chances yet she also knows how to really get inside a lyric. Some of her interpretations are as close to high-quality cabaret as to jazz and most of her scatting is worked out beforehand, but she improvises with subtlety, taste, and swing. Catherine's song selection is particularly strong, including three songs by the team of pianist Russ Kassoff and Deirdre Broderick. Kassoff's arrangements of such tunes as "I Have Dreamed," "Someone at Last" (from A Star Is Born), "Wonder Why," and "Who Will Buy" make those songs sound brand new, and even "I've Never Been in Love Before" and "Lonesome Road" are reinvented. In addition to the rhythm section, there are quite a few instrumental guests who appear on a few numbers apiece and have short statements, including guitarist Bucky Pizzarelli, trumpeter Marvin Stamm, altoist Ted Nash and the reeds of Lawrence Feldman. There is not a throwaway performance among the 13 selections, and the program never loses one's interest. The Rules of the Road is highly recommended and a perfect introduction to the singing of Catherine Dupuis. Scott Yanow, All Music Guide
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The Rules of the Road features Catherine Dupuis with big band and strings as she interprets a program of songs not found on every street corner and not returned every time we turn around to listen. She eschews the Great American Songbook repertoire, but maintains a down to earth feeling that pervades. The Chicago tune "Beginnings" carries with it an uplifting quality that moves her significantly forward. With this selection and with most of her program, the singer blends with her ensemble, interpreting lyrics with compassion and offering lucid scatchoruses that are filled with excitement. The rhythm that exudes from their fiery combination turns contagious. Bucky Pizzarelli's rhythm guitar solo, Marvin Stamm's tender flugelhorn melody, and Ted Nash's burning alto saxophone thread give the piece an authentic flair. Dupuis interprets each selection with authority, scatting wordless vocals as a member of the orchestra and bubbling with enthusiasm. You can hear her smiling through Sammy Cahn's "Wonder Why," as the big band takes her on a joyful ride through swingland. Tender ballads fall into place with warm underpinnings, as she moves casually through lush landscapes. Several of Russ Kassoff's original compositions give Dupuis plenty of room to emote comfortably. Lionel Bart's "Who Will Buy" takes on a spiritual quality that surpasses what we experienced in the musical production. She's restructured the tune into a powerful meeting of modern jazz with Broadway. The album comes recommended for its energy, drive and for the singer's unique musical character. As she sings alongside Emedin Rivera's congas, a sparkling piano, and full band, "The Best is Yet to Come." Jim Santella, Cadence
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The notable element of Dupuis' The Rules of the Road, now that listeners have become familiar with her ability to immerse herself completely in her music, is the involvement of co-producer/arranger/orchestrator Russ Kassoff. Her experience in musical theater means that often she presents songs that traditional jazz singers may overlook, inserting a startling sense of delight at the close attention paid to songs not often heard. Dupuis fancies her voice as a horn; yet when she sings with strings ("I Have Dreamed," "I've Never Been in Love Before"), the results are a singer's dream, calling attention to the beauty of Dupuis' alto voice, resonant with a slight vibrato and an ever-present sense of unerring timing. "Who Will Buy" is reminiscent of Sheila Jordan's Jazz Child. Bill Donaldson, Jazz Improv
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RULES OF THE ROAD are clearly designated by Catherine Dupuis on her latest recording that features such jazz luminaries as Russ Kassoff, Ted Nash, Bucky Pizzarelli, Lawrence Feldman and several others. The rarely performed title track, written by Cy Coleman and Carolyn Leigh, opens the program and the vocalist makes it her own with the accompaniment of Kassoff's laid-back swing arrangement. A gentle bossa nova version of "I Have Dreamed" gives Dupuis her chance at romance with gorgeous strings and guitar comping. Other songs from the vaults include "Someone At Last," from A Star Is Born and "Beginnings" from Chicago. Both are sung with skill and impassioned with Dupuis' straightforward vocal delivery. Overall, there is something very nostalgic about THE RULES OF THE ROAD but then; Catherine Dupuis lets you be the judge.
Paula Edelstein, Sounds of Timeless Jazz
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On The Rules of the Road, Catherine Dupuis takes her listening audience on a splendid journey along life's route, particularly that road's path to love, and the route that she's chosen is one with one surprising turn after another. Dupuis never allows the listener to become too comfortable, because she'll just as easily kick it into high gear after a smooth straightaway, and that's one of this album's great strengths. One of them. There's also Dupuis' naturalness in performance and the inviting timbre of her voice. Take those two qualities and seat them inside orchestrator-conductor-pianist Russ Kassoff's effective and diverse arrangements, and fasten your seatbelts ? the trip down this "Road" is one heck of a ride. You can tell when an artist is equally enamored of a lyric line as much as the melody on which it floats, and Dupuis creates an immediacy within each of her 13 selections on The Rules of the Road, whether it be the breezy warmth of the seldom heard Cy Colman-Carolyn Leigh title track, the unexpected side road taken on her infectiously joyful "Beginnings" (Chicago-meets-jazz-meets cabaret; whoda thunk it?), the oasis of reverie she creates in her total reimagining of A Star Is Born's "Someone At Last," and the wonderfully unexpected detour she takes in a bossa nova flavored "I've Never Been in Love Before." A trio of originals by Kassoff and Deirdre Broderick let Dupuis relax and reflect on life, love and the possibilities each offers in the impressive "I Remember," "When He's Near My Piano" and, especially, "You Are All the World to Me." But if there's one leg of this journey that had this rider most delighted in having been invited along, it's found in the ethereally intoxicating and simple beauty of "I Have Dreamed." Talk about your joyrides.
Jeff Rossen, Cabaret Scenes
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(5/4) O's Top Vocal Sections (Fall 2005) Catherine is singing in front of a large ensemble with strings and brass. They are a well-knit combination. We feel this on the title track with Dupuis scatting in sync with trombonist Bruce Bonvissuto. That seamless interaction continues with the mild samba of "I have Dreamed" and "I've Never Been In Love Before," and a multitude of pretty ballads like "I Remember" and "The Best Is Yet To Come." We keep listening and enjoying it! D. Oscar Groomes, O's Place Jazz Newsletter, Fall 2005
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Catherine's thinking all the time: she's truly in each moment, thinking it through and communicating it to the listener. Maybe it's because she has worked as an actress. She's also studied music with some of the best, and the lady is in command. With a pleasing sound that can be creamy, belty or wistful, Catherine is a pleasure to hear. The title song and "The Best is Yet To Come" both bring out her playful, effervescent side. Catherine has surrounded herself with musicians of the highest rank. Russ Kassoff's settings are inventive and exciting on repeated listenings for the many ideas big and small, figures and accents that are assets to the story of the song. He also wrote three of the songs with lyricist Deirdre Broderick. Four tracks have the added attraction of guitar legend Bucky Pizzarelli. Catherine and Russ are well matched, and his piano playing throughout adds immeasurably to the full effect. More than anything else, Catherine's an interpretive singer with jazz sensibilities and a great sense of swing. Rob Lester, TalkinBroadway.com
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Rules was really a surprise disc for me as I just figured it would be another nice but not remarkable vocal outing, but it just absolutely floored me. The conception and arrangements were startling and made the whole audio experience one of unusual musicality. I've locked into "Who Will Buy" and "Lonesome Road" - whoever dreamed up the Bart tune in that configuration with the traditional chant was brilliant and, of course, Catherine put it altogher with her talent and accommodating voice. Rules will be a constant part of my jazz shows weekly and for some time to come. What a wonderful and welcome jazz serving! Bruce Tater, KETR Commerce TX
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Dupuis provides a different take on the classic Chicago 60s hit song "Beginnings" from her new release, The Rules of the Road. Dupuis version is more jazzy, making one believe that it was a good jazz tune all along, with various time changes and solos by Ted Nash and Bucky Pizzarelli. Dupuis projects an air of sophistication and through concerted listening you realize this lady knows the score, with excellent phrasing and a soft subtle command of the material. Pianist Russ Kassoff is an excellent accompanist, providing Dupuis a foundation from which she excels, especially on ballads, "I Remember" and "You Are The World To Me" written by Kassoff and Deirdre Broderick. "Who Will Buy" from the show Oliver, based on Dickens' Oliver Twist twists, and since Dickens was the Stephen King of his time, he would dig Dupuis' heady modal version. Honorable Mention should go to Kassoff, pianist, arranger and composer on this CD." Dick Crockett, Still Another Jazz Show KXJZ, Sacramento CA
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I spoke highly of Catherine on my show yesterday morning, and went on to play "Beginnings," which I love very much. I've been waiting for a superior singer to transform some of the music I grew up with in the 60's, and Dupuis just may be such an artist, with her unique interpretation of the Robert Lammpop/jazz classic." Ray Alexander Drobko, CJUM, Winnepeg MB Canada
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Catherine Dupuis: Rules of the Road
Don't confuse this CD title with one of the last Anita O'Day CDs released and recorded on Pablo in 1993. Catherine is second to none. Here she exposes us to some thrilling versions of 13 familiar songs. She starts things off with a blazing title song (Coleman/Leigh) where her novel scat is quite amazing. She dashes through it with the slightest of ease. "Wonder Why"(Brodszky/Cahn) is done as a double time arrangement. It's most fitting. Her spectacular vocal midway is unbelievable — much like the four octave unforgettable Gloria Wood. It's always a pleasure to hear "I've Never Been in Love Before" (Loesser) again. Catherine surprises us with an unusual wordless vocal arrangement midway. "The Best Is Yet To Come"(Coleman/Leigh) is sung out in a thrilling take. Ace trumpet player Marvin Stamm is aboard here driving the music. And then in a fitting waltz tempo is an amazing "Who Will Buy" (Bart) enhanced by Russ Kassoff's magical rhythms on piano. The last song on this multi-highlighted biscuit is "Lonesome Road" (Shilkret/Austin). Be careful when you listen to this one. Every second really counts here. Nothing is left out. It has it all. The one of a kind arrangement will stay with you for a long time. Ms. Dupuis never lets up taking many varied forks in her not lonesome road. It's unbelievable. In Tune International, June 2011 (No. 232) "Singer's Singers," Dan Singer
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