SAUL DAUTCH, Music for the People

The thousands of passersby in Washington Square Park catching wind of Saul Dautch when he busked there to keep his chops up during the Covid lockdown surely had no idea that the veteran, in-demand baritone saxophonist boasted an eclectic resume that included the Glenn Miller Orchestra, the Orlando Jazz Orchestra and an ensemble called the Flying Horse Big Band at his alma mater, the University of Central Florida.

Playfully dubbing his calling to play the bari “a dirty job but someone has to do it,” Dautch joins forces with a batch of well-heeled musicians from his adopted hometown of NYC – most prominently, trumpeter Noah Halpern and pianist Miki Yamanaka – Dautch showcases the transcendent joys and sweet sensitivities of his low toned horn on his debut album Music for the People, a set comprised seven, stylistically and rhythmically eclectic originals (most inspired by loved ones or intriguing personal experiences) and the Duke Pearson-penned “Hello Bright Sunshine” (popularized in the early 60s by Donald Byrd and Pepper Adams), which not only serves as the ideal perfect, peppy and carefree romp to start the collection, but also as a showcase for the impressive synergy between and solo action of Dautch, Halpern and Yamanaka.

Along the way, Dautch offers insight into his life in Brooklyn (via the swinging, bustling “Nighttime on the Red Line”), shares his love of his frisky but mischievous Bengal cats Odin and Freya (the fast, frenetic and wildly improvisational “Odious Din”) and expresses gratitude for his late father (the wistful ballad “Gratitude”) and one of his influential teachers (the lyrical, Wayne Shorteresque “The Guru”). Moved by the unexpected passing of a close cousin who was an advocate for Jews around the world, Dautch dedicates the gorgeous elegy “L’Chaim” (not the Fiddler on the Roof tune) to his enduring spirit.

Overall, Music for the People is an inspiring debut and makes the case for the bari sax as a premiere lead voice for jazz ensembles.