CATHERINE DUPUIS: Moments

Catherine Dupuis

Moments

© 2001 Catherine Dupuis (808434000128)

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“A vocal jazz artist gifted with a stunning alto voice, a stellar sense of time and deep intuition about how to render a lyric, Catherine makes songs come alive. She demonstrated her artistry on “I Hear Music” and she does it again on “Moments."

tracks

1 Follow Me
2 All Through the Night
3 Comecar de Novo
4 I'm Old Fashioned
5 Get Out of Town
6 Interlude (A Night in Tunisia)
7 Skylark
8 If You Love Someone, Set Them Free
9 Spring Friend
10 What Wondrous Love
11 Starting Here, Starting Now/Moment to Moment
12 Isn't It A Pity
13 Things Are Swingin'

notes

"Catherine Dupuis is not only a fine singer, but she can be given some of the most complicated arrangements, and make them her own. She is not only wonderful...she is merely marvelous...and she's a visual trip to boot!"--Mark Murphy

The captivating and stunning jazz vocalist, Catherine Dupuis, is releasing her second CD, "Moments" -- a marvelous follow up to her critically acclaimed debut CD, I Hear Music (which was awarded three stars in Down Beat - and went into wide radio rotation in the U.S.). Not only does "Moments" push past the boundaries of jazz vocal performance, but it also boasts eclectic material taken from the musical worlds of jazz, pop, Brazilian, the Great American Songbook, musical theatre and gospel.

Phenomenal pianist/composer/arranger Bill Mays is Catherine Dupuis' musical partner, having created the highly original arrangements (with the exception of "Skylark", arranged by Russ Kassoff), as well as performing on the recording. Other featured New York City-based first-call musicians on "Moments" include Martin Wind on bass, Tim Horner on drums, Marvin Stamm on trumpet/flugelhorn, Ted Nash on reeds, Jim Pugh on trombone and Memo Acevedo on percussion.

There are many musical highlights in Moments. Catherine Dupuis has already emerged on the scene as an artist with unique interpretive skills, consummate vocal skill and unfaltering taste in material. According to Cadence, "...she can navigate twists of tempo and volume with ease. She goes on to tackle a varied collection of songs that allow her to be both the sophisticated hipster and the jaded singer." Unlike many vocalists, Catherine is an artist who views jazz as the collaborative art form that it is, and those successful collaborations are evident in both her debut CD, "I Hear Music" and her current release, "Moments". Bill Mays has shared Catherine's vision, and contributed original and refreshingly surprising arrangements. Bill says, "I really dug writing this project.... Catherine, who phrases so well and whose time is impeccable, allowed me great freedom as an arranger, and her choice of tunes was wonderful." Ken Dryden of The All Music Guide is another enthusiastic supporter of Catherine, and he has said, "This very expressive singer has everything going for her...an expressive approach to familiar material...Catherine Dupuis is a new voice worth hearing."

"Moments" is certain to elicit unexpected emotions, and intrigue listeners (no matter how eclectic their tastes). Catherine Dupuis, Bill Mays and all of the fine musicians on this project invite music enthusiasts to a virtual smorgasbord of rhythmic and harmonic delights. In the words of jazz writer, Alex Henderson "(Catherine)...is original and risk-taking enough to keep things from becoming boring or predictable. A quirky and playful yet sensitive vocalist who combines the influence of Annie Ross and Sheila Jordan with elements of cabaret and theater music...Dupuis deserves credit for taking her share of chances."

reviews

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  • Tolle Titten! Geile Stimme!
    author: Charlie Bremicker

    WOW! Was für 'ne geile Stimme und welch tolle Titten.Da treibt einem direkt den Samen aus dem Sack.

  • Destined to leave a most indelible mark on the future of jazz.
    author: Richard Bourcier, Jazzreview.com

    Catherine Dupuis has recently issued her second CD as a follow-up to her successful 1999 issue "I Hear Music." The collaboration with pianist Bill Mays ensures an intimate and enjoyable jazz journey for her audience. Great attention was given to the choice of repertoire and it really shows. The addition of a few veteran studio jazz musicians like Jim Pugh, Marvin Stamm and Ted Nash assures another success. Dupuis studied with the famed operatic mezzo-soprano, Eileen Farrell and later moved to New York City in 1985 where she has been involved in all aspects of music from commercial jingles to Broadway. She appeared in the popular productions of Camelot, Fiddler On The Roof, She Loves Me and Daydreams, the latter being based on the career of Doris Day. Since the mid 1990s, she has appeared at many top venues including Cleopatra's Needle, The Metronome, Eighty-Eight's and La Belle Époque. Bill Mays is a very important part of this release and perhaps best known as Mark Murphy's accompanist for many years although he has also worked with Sarah Vaughan and Frank Sinatra. His piano may be heard on the soundtracks of Sleepless In Seattle, Superman, Terms Of Endearment and Lethal Weapon. He's also a veteran of the Benny Golson, Shelly Manne and Howard Roberts groups. "Moments" is an intense session and Catherine Dupuis shows her tremendous talents via the compositions of such diverse writers as Gershwin, Sting, Dizzy Gillespie, Cole Porter, Peggy Lee and Hoagy Carmichael. Her brilliant alto vocals are laced with meaningful jazz feelings and are done to perfection. Bill Mays' solid accompaniment and the imaginative solos of Marvin Stamm, Jim Pugh and Ted Nash are icing on the cake. Ms. Dupuis is perhaps a relative newcomer to the jazz scene but is destined to leave a most indelible mark on its future. This CD is highly recommended.

  • Irrepressibly swinging!
    author: George Kanzler, Newark Star-ledger (nj)

    Catherine Dupuis has a clear, slightly deeper alto voice than [Thierny] Sutton, and a cabaret singer's attention to lyrical detail. But she's also irrepressibly swinging, and is accompanied by a sextet featuring fine jazz musicians. "Moments," her new album, is in the current style of standards and some newer songs, all done with emphasis on the words. Dupuis has a surprising range, from perky ("I'm Old Fashioned") to slinky ("Get Out of Town"). To hear how well she can inhabit a standard, check out her optimism-shaded "Isn't It a Pity." One final note on the Krall phenomenon: The cheesecake factor. Diana Krall is something of a jazz pin-up, an attractive blonde who wears clothes well and is not averse to showing off her legs. So fashion photographers also seem to be part of the landscape of the albums from Bryson, Sutton and Dupuis, the latter two attractive blondes in the Krall mold.

  • One of the brightest new stars in the entertainment world!
    author: Jim Stone, Big Band Swing -- Wlnz Lansing Mi

    You'll take more than a moment once you start listening to Catherine Dupuis's new album. From the very first track, "Follow Me," right up to the great Peggy Lee song "Things Are Swingin'," Catherine Dupuis was born to sing. She has a natural born talent and a voice that paints a rainbow with every word she sings, just listen to Hoagy's "Skylark." No doubt about it, Catherine Dupuis is one of the brightest new stars in the entertainment world!

  • A disguised strength, simultaneously beguiling and dominating.
    author: Frank Rubolino, Cadence

    Dupuis is a vocalist with a youthful, high-ranging voice. On ["Moments"], she sings 13 popular tunes, injecting a touch of scat into the formality of her theme structure. On most tunes, she sings the lyrics in an outgoing, extroverted manner, and she always manages to inject a bit of jazzy phrasing or scatting line to stir the pot. Dupuis sings the lovely Brazilian ballad "Comecar de Novo" in Portuguese to provide an additional twist to the presentation. Although her voice has a girlish charm, she is able to exert significant volume and force that stands up well against the septet that accompanies her. She gets revved up on the up-tempo selections and puts the band through its paces. The slow ballads are done with gentleness, but even they show off the disguised strength contained in her voice. The orchestra with Dupuis has a bold sound. With Stamm, Nash and Pugh providing the punch on reeds and brass, the band displays its muscles regularly. Mays on piano leads the rhythm section that provides solid backing to Dupuis. The band's arrangements [by Mays] are well constructed and very much suited to her singing style. On "Interlude," the dynamics of the band pitted against the energetic execution of Dupuis takes the pace up a notch and concludes with a flurry of power. The recording alternates between heavily driven tunes and quieter, slower ballads, and both formats display the talent of Dupuis very effectively. She can be simultaneously beguiling and dominating.

  • This very impressive CD is highly recommended.
    author: Ken Dryden, All Music Guide

    Catherine Dupuis made an auspicious debut in 1999 with her CD I Hear Music, and this follow-up proves to be even more wide-ranging. Once more she is joined by the brilliant pianist and arranger Bill Mays, along with bassist Martin Wind and drummer Tim Horner, while occasionally expanding her supporting cast with the addition of trumpeter and flügelhornist Marvin Stamm, trombonist Jim Pugh, Ted Nash (heard on alto sax or flute), and percussionist Memo Acevedo on selected tracks. The chemistry between Dupuis and Mays is particularly explosive in the imaginative arrangement of "Follow Me." She wails in Dizzy Gillespie's bebop classic "Interlude" (better known as "A Night in Tunisia"). Dupuis restores the often omitted verse to the swinging sextet version of "All Through the Night" and she is also a masterful interpreter of the dark humor in another Cole Porter classic, "Get out of Town," which is accented by Pugh's often sardonic-sounding trombone. Mays co-composed "Spring Friend" with singer Mark Murphy, an unusually structured ballad that Dupuis makes her own with a sterling performance. The old hymn "What Wondrous Love Is This" departs dramatically from its traditional setting, with Dupuis adding a driving chant, and Mays occasionally muting the piano strings with one hand as he plays the keyboard with the other. This very impressive CD is highly recommended.

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