feature photo: Michelle Simonsen
When the protégé becomes a peer, that’s usually a sign that she’s come a hell of a long way. That’s certainly been the case for Kait Dunton, whose journey as a professional musician began at the urging of trumpeter and music instructor John D’earth back when she was studying Spanish at the University of Virginia. She’s since gone on to earn three music degrees, along the way becoming a part of an early version of Snarky Puppy, and learning from Peter Erskine and Bob Mintzer while at the University of Southern California’s Thornton School of Music. And then, Dunton went on to form the acclaimed contemporary jazz combo trioKAIT, whose recording activities are well documented in this space.
But now, Kait Dunton is ready to look back to where, in a sense, it all started for her: with D’earth. Planet D’earth salutes the veteran jazz musician, whose own career stretches back to the early 70s. Though Dunton leads this date and is responsible for most of the compositions here, D’earth is on hand for every track in both a supporting and lead role, contributing a trio of tunes of his own. Joining Dunton and D’earth are Dunton’s trioKAIT drummer Jake Reed and current Yellowjackets bassist Dane Alderson.
So, Planet D’earth is a celebration of the under-appreciated D’earth, whose recording credits ranges from Emily Remler to Bruce Hornsby. But Kait Dunton also uses the occasion to break out of the trioKAIT format to stretch out and dabble into formats and arrangements not really possible with her regular working band. A string quartet is heard on “Dear John,” adding weight to her lilting ballad and the first horn heard is not D’earth but actually another of Dunton’s former mentors (and another Yellowjacket), Mintzer. Dunton herself is restrained, letting the notes hang for emotional impact.
Another anomaly on a Kait Dunton record is the appearance of a guitar, heard on the title song as well as for “Mister Zen” (Andrew Synowiec), the two most ‘fusion-ish’ tracks of the album. On the former, the old mentor steps up front, revealing a steady tone and expression that’s perfectly suited for the setting. On the latter, Carey Frank’s B-3 organ and the D’earth/Mintzer chart contribute toward the thick RnB flavor of this song, featuring in-the-pocket solos from both the horn maestros.
“Sarah’s Bracelet” and “River on the Rocks” are D’earth’s tunes (as is the brief coda “River”) and it’s clear from his highly developed style of harmony and rhythm that Dunton’s own composing shows his influence. “Rocks” is also a fine exhibition for the buttery timbre of D’earth’s flugelhorn.
Dunton undertakes a three-part “Thread Suite,” and on the first movement, D’earth is heard overdubbing his trumpet part with a muted trumpet on the ethereal tone poem. Movement Two shifts into a higher, Brazilian gear with the full quartet, on a melody that sounds as a direct extension for the first part but with wholly different dynamism. The final segment returns to a contemplative mood, this time with Alderson setting the basic theme.
In celebrating her starting point, Kait Dunton ends up revealing more about all of what she’s now capable of, easily mastering different approaches in terms of writing music, arranging it and playing it. You come away listening to this album thinking that there’s really not much she can’t tackle with aplomb. Thank goodness John D’earth urged her to go pro.
Planet D’earth drops on February 8, 2019 from Real & Imagined Music.
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