DOWNWARD CURRENT

London, 2026

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Based in New York, baritone saxophonists Saul Dautch and Bryan Cowan began their association in 2023, after both were named among “The Futures of the Baritone Saxophone” by the Low Blow Society. What began as a recognition of two emerging voices quickly developed into a musical partnership, with Dautch and Cowan finding a natural contrast and synergy between their improvisational and compositional styles. Their debut release, Downward Current, marks their first outing as a band-leading duo. Joined by Louie Leager on double bass and Adam Ray on drums, they bring together two distinct voices around the often-overlooked possibilities of the baritone saxophone within contemporary jazz. 

“Turtles” opens Downward Current with the two lead voices of Dautch and Cowan interweaving with each other until the introduction of the main theme in unison, followed by the first baritone solo, immediately setting up the tone of the release. “Downward Current”, the title track, is slightly more mellow in pace, leaving space for the double bass to take the frontline for a few choruses before the saxophones return with a very strong focus on the main melody, reminiscent at times of Mingus’ saxophone part-writing. “Claude Debussy’s Changes” comes as no surprise — impressionistic influences lie behind the two saxophonists’ music. Dautch cites Miles Davis’ Birth of the Cool — itself influenced by Claude Thornhill’s impressionistic orchestral parts — and particularly Gil Evans’ writing as an influence on his own writing. Both artists acknowledge the influence of impressionistic jazz and classical music on their composing style, and this comes through particularly clearly here. “Wooden Shield” is based on the Coltrane changes and is, for Dautch, an opportunity to tackle the challenging harmonic progression. This is a very common concept in jazz composition, often known as a contrafact. If the result carries the DNA of “Giant Steps” — and the melody even hints at it at times — the tune develops its own character, carrying one of the most interesting drum solos from Ray. “Five Houses Down” is a Cowan tune inspired by the poem of the same name by American poet Christian Wiman. The almost-ballad presents one of the most lingering melodies of the release, with a beautiful interplay between the lamenting saxophones and the rhythm section, which slowly elevates the quartet into a more energetic exchange. Last but not least, and the only tune that was not composed by the duo, “Ramblin’” is one of Ornette Coleman’s bluesiest tunes, originally recorded in 1959. Its motivic approach reflects well the language of the quartet’s improvisations, bringing Downward Current to a fitting close. Throughout the release, the baritone quartet setup leaves a lot of space for soloing from each member, allowing both saxophonists to withdraw and leave space for the rhythm section to take the lead. A tune like “Sunny Goldman” perfectly illustrates the different dimensions of the quartet’s interplay, where the drums and double bass provide melodic counterpoint and work in pairs to create layers of melody despite the two baritones taking the lead.

Dautch and Cowan make their debut as a band-leading duo with improvisational and compositional voices that complement each other, while also providing a strong colour contrast. The quartet setup creates an interesting interplay between the musicians. Rather than relying on a chordal instrument such as the piano, each personality has the opportunity to provide both melodic and harmonic support, and the connection, technical ability and creativity of the quartet are impressive. Despite being the duo’s first release, Downward Current is an incredibly mature work. There is a clear understanding between the four musicians, but also enough space for individuality, allowing the music to move naturally between composition and improvisation. Overall, great music!