Let's put the spotlight on two women called Catherine who came from different times and places, and the recordings present different musical genres. Described by its California-based writers as a "sung-through rock opera" (although there is some dialogue among this presentation of some of its score), The Path to Catherine is about the mid-teen years of the titular Russian ruler born in Germany three centuries ago. It was approximately one century ago that the songs heard on our other featured item were introduced. The other Catherine du jour is the great Catherine Russell, native of New York City who performs all over the world and is known for an affinity for vintage material sings most of them. She's in the company of kindred spirits with a similar mission. They are the Jazz Hounds, led by Texas-born Colin Hancock; much of the material is associated with places in America's south, such as New Orleans. Their set's ambiance is sunny and breezy, contrasting with the stormy drama on the first album.

SELECTIONS FROM
THE PATH TO CATHERINE
A NEW MUSICAL
STUDIO CAST
Center Stage Records
Digital

Welcome to Russia. The musical titled The Path to Catherine takes us back through the pages of history to the 18th century to learn about the person who'd become its famous female ruler known as–[spoiler alert!]–Catherine The Great. With music by Jan Roper and lyrics and book by Patricia Zehentmayr, the three-character piece had a run in 2022 in North Hollywood, California with a different cast than the one heard on the recently released recording. In these renditions by a studio cast, seven performers share the singing load instead of having each of the three roles consistently sung and spoken by the same recognizable voice. So those listeners who are willing to sacrifice the comfort of continuity for aural variety may not mind too much, especially since there is no weak link among the strong-voiced participants.

The story revolves around whether Joanna (Krystina Alabado in the beginning and in the poignant penultimate piece, the reflective solo "Yours/ Mine") will see her teenage daughter Sophie (later renamed as Catherine) chosen as the royal bride to bear an heir to the Russian throne, subject to the approval of current empress Elizabeth. With different perspectives about priorities and practicality, there are conflicts of loyalties and personalities, with powerfully sung power struggles.

As in many musicals, characters' desires are delineated in the category known as "I want" songs. Those come up here and are handled well. Here are a few examples: In the first selection, a trio, the intense "Things Don't Always Go as Planned," the story is set up with exposition in the past tense, with the mother's goal tersely stated ("Joanna wanted power"). Elizabeth's reflection, "I had no wish to rule/ I wanted a family to cherish," is reinforced in her early solo, "Something Tells Me," when she unequivocally declares in a letter: "I want a family and this is my stance ... I will make damn sure to fix what God has not." (Sharon Wilkins takes the role of Elizabeth on these numbers.) Caitlin Kinnunen, taking a turn as Sophie in "More Than Me," proclaims that "to be one flower's not okay./ I want to be the whole bouquet/ ...I want to be every cherry in the pie/ Every cloud that's in the sky/... I want to be more." When mother and daughter weigh the relative values of "Love and Dominion," considering the arranged marriage, she protests, "But, Mama, I want him to love me!" In a more vulnerable moment ("Still a Chance"), the role is interpreted with aplomb by the pleasingly sweet-toned Sophia Oda, and the teen is more tentative, not at all certain about what she wants: the possibility of going home, or going through with the marriage ("Maybe I want it")–which she knows may not be offered after all.

Elsewhere, there's a lot of strife and sturm und drang as sparks fly, with adult roles also played by Maiya Sykes and Zakiya Young. Robyn DeLano appears only on the last track, as one of the participants of the "Epilogue," which incorporates some reprises and sums up what happened during Catherine's rule. It's all quite a roller coaster ride with a couple of respites. Music is more strident than soaring, more jagged than legato. Lyrics deliver the emotions and opposing points of view with directness, with a mix of pure rhymes (some of which are quite splendid and polished) as well as close-but-no-cigar rhymes.

The composer is on keyboards and serving as music director; she's also credited as co-producer and co-arranger of three tracks. The main credit for arrangements and billed as producer is Adrian Cota, the band's percussionist.

While the action takes place many decades ago in Russia, with resident royal Elizabeth interacting with Joanna and her daughter Sophie arriving from Germany, the hard-driving music style chosen is boldly and unapologetically contemporary, consciously eschewing evoking time and place via pastiche. (In interviews, the writers have expressed their desire to follow the models of shows like Spring Awakening and Jesus Christ Superstar that are musically anachronistic, using rock to refresh a tale of yore.) So, be advised to expect much less of centuries-old vintage Russian dressing than might be tasted in Zhivago or those musicals about Anastasia or Natasha, Pierre & The Great Comet of 1812. And, when it comes to songs for Joanna and Sophie that might suggest their homeland ... well, this ain't no stately German operetta! The three women sound more like the venting young people in Rent. The edgy, forceful approach is appropriate to enhance the several numbers that are fiery arguments, assertive declarations, or no-holds-barred accusations.

Royal folks have long been among the dramatis personae in song-filled shows, including those who actually existed, like Catherine, who–in her adult years–is a character in Count Orlov (which debuted in Russia in 2012 and is, coincidentally, being revived this week at the Moscow Operetta Theatre). Other examples are Rex, Six, The King and I, I and Albert, Thomas and the King, Always, Only a Kingdom, Goodtime Charley, Cleopatra, Diana, and Hamilton, as well as uncertain royal realness in Camelot and the truly fictional crowned characters in The Student Prince, The Prince and the Pauper, Princess Ida, The Princess Pat, Rosalie, The Enchantress, Jubilee, Once Upon a Mattress, Into the Woods, and Alice in Wonderland. While Catherine's life has been depicted in various media over the years, and she's been played by such women as namesake Catherine Zeta-Jones, Helen Mirren, Marlene Dietrich, Jeanne Moreau, Elle Fanning, Tallulah Bankhead, and Mae West, usually the emphasis is on the empress's years of reining (1762-1796) rather than her youth.

As the title states, what's been chosen are Selections from the score; there are 10 numbers chosen from the full set of 26 that were used in the stage presentation. So, it's premature–and presumptuous–to try to predict how the whole thing might impact us when we hear less than 50% of The Path to Catherine's contents. This may be a truly representative sample and the cream of the crop or perhaps some of the best is yet to come. In any case, it's a provocative presentation.

P.S.: It's a fun fact that Catherine herself had a strong interest in writing plays and the libretti for comic operas, commissioning composers to set her words to music. It will be interesting to follow whatever path The Path to Catherine follows to its next steps.

COLIN HANCOCK'S JAZZ HOUNDS
FEATURING CATHERINE RUSSELL
CAT & THE HOUNDS
Turtle Bay Records
CD | Digital | Vinyl

You'll find the word "blues" in the titles of seven songs included on Cat & the Hounds, but there's nothing too mopey or mired in misery about the tempi or treatments, notwithstanding the fact that some lyrics are about romantic woes. It's more of a foot-tapping, feel-good affair, filled with energy (but easygoing in its wonderful way). Reviving numbers that were in the repertoire of Black artists from the early decades of the 20th century is the intention. Cat is the nickname of vibrant vocalist Catherine Russell who, after years as a background singer for stars, released her first solo recording, Cat, in 2004 and has become a jazz star herself, with nine other albums to her credit before this one. The Jazz Hounds–a seven-member ensemble led by cornetist/ saxophonist/ arranger/ producer Colin Hancock–borrows its moniker from a group that accompanied singer Mamie Smith back in the day. Among the items recorded here are things she'd gotten to in her time: "Goin' Crazy with the Blues" and "Crazy Blues." The latter is something Miss Russell herself got around to, voicing it for the soundtrack of the TV series "Boardwalk Empire." The set list also allows her to pay homage to her father, Luis Russell, the Panamanian-born pianist/bandleader, starting with the juicy opening track about a train, "Panama Limited Blues"; he recorded it at the start of his own career.

Among the dozen tracks are two that are purely instrumental: the delightfully rollicking "Carolina Shout" and the interconnected "Gypsy Blues"/"Serenade Blues," both written by Eubie Blake and Noble Sissle, featured in their big hit musical Shuffle Along.

Bass saxophonist Vince Giordano, the venerable keeper of the flame for this style of early jazz, usually also wearing the hat of bandleader himself (with The Nighthawks), guests on two numbers. They are the winking strut "You Got Ev'ry Thing a Sweet Mama Needs But Me" and the peppy "West Indies Blues." There's spunk and humor in these two lyrics and the way the vocalist handles these, buoyed by the characterful sound of the Giordano jauntiness. A different kind of funny business arrives with a splash when Jerron Paxton, who plays banjo, guitar, and harmonica in the band, joins Catherine Russell for a sassy vocal duet, "Elevator Papa, Switchboard Mama," taking on the characters of its insult-trading titular couple, with double entendre remarks related to aspects of those jobs. (It's from a vaudeville revue and was a specialty of a married couple who performed as Butterbeans and Suzie.)

The arrangements are consistently entertaining, with the individual instrumental sounds a pleasure to hear, individually and collectively. In passages without vocals, the amount of allotted time feels ideal for set-ups and, mid-way, continuing and expanding the attitude expressed by the singer and lyric. Pervasive are projected confidence and a true sense of joy. In addition to the musicians already named, the team consists of Evan Christopher (clarinet), Dion Tucker (trombone), Kerry Lewis (tuba), Jon Thomas (piano), and Ahmad Johnson (drums).

A 22-page booklet contains photos and a wealth of very detailed information about the relevant music history of the era, facts about all the songs and notable performers associated with them, and background bits about each of the Jazz Hounds and the terrific singer joining them on 10 of the 12 tracks. Catherine Russell's manager (and husband) Paul Kahn co-wrote the appreciative, informed notes with Mr. Hancock. It's like a textbook for a class in Music Appreciation meant to cover and discover early jazz and blues as well as a love letter to Black musicians of the time. The torch has been passed and the traditions live on. The cool cats combining forces on Cat & The Hounds are such a perfect match of band and singer that fans of vintage fare will encourage an encore and may hound them until it happily happens.