The eponymous Take A.M.E. is the debut from a trio co-led by three artists based in New York City – alto saxophonist Atsushi Ouchi, drummer Marc Copell, and bassist and longtime protégée of Buster Williams, Everett Boyd. Copell and Boyd play across jazz, blues, R&B, funk, and world-beat music. Blues fans may know them as integral long-running members of the Bobby Kyle Band, as adventurous a bass-drum tandem as can be found in any blues unit. Ouchi developed his musical foundation in Seattle and spent time in Beijing before settling in NYC, where he has resided for nearly twenty years.
All three members contribute compositions, that draw upon open harmonic movement, rhythmic clarity, and collective form. Given their eclectic backgrounds, they draw on post-bop, blues, groove-based music, and improvisation. Take A.M.E’s music is highly lyrical and full of grooves, reminiscent of the late Arthur Blythe, albeit from a far smaller ensemble. Many of these tracks are hummable and fit for a vocalist. For the most part, their music is highly accessible, but at times they venture into some “out” improvisation.
Copell’s “Bageroo,” begins with the composer’s drums. Ouchi enters, soaring with the melody around which he twists and embellishes over the pulsating undercurrent. Copell and Boyd strike up a vigorous conversation before Ouchi re-enters with the joyous melody. Boyd’s shuffling “Gem in the Robe” follows, with the sturdy bass lines and impressive snare and cymbal flourishes. Ouchi states the rolling, reflective melody, stretching out, before the trio reconvenes to for a definitive climax. Ouchi’s “Solana” is an open form excursion with insistent, almost hand-clapped-like beats from his rhythm partners. Boyd takes a feisty turn before the group returns to their uplifting, grooving melody.
Copell’s “Dad’s Tune” is a mid-tempo ballad, reflective but with forward momentum. Following a solo by Ouchi, Boyd and Copell step forward individually, before the altoist rejoins with a rather elegiac theme. Boyd’s “Sweet Hour” rings with a swaying theme before the middle section morphs into Ouchi’s fervent improvisation. Meanwhile, the bass-drum tandem holds down the bottom, giving the saxophonist as much freedom as he needs. Boyd makes a statement, while Copell keeps it steady. Boyd’s “Post Man’s Bop” stays true to the title while also offering a slice of soul jazz through its bluesy riff, shuffling beat, and earthy walking bassline.
Copell’s “Minor Fast” maintains a driving, rhythm-forward groove while Ouchi ventures out on the edges. Boyd delivers a monstrous solo, propelled by the composer’s vibrant kit work. Ouchi’s “Ode to Joe,” possibly a nod to Joe Henderson, steadily moves along with Boyd and Copell keeping the engine room stoked, each making potent statements along the way. Drawing upon his bandmates’ time in Bobby Kyle’s Band, Ouchi’s “Yuping’s Apple” is a strutting blues. One can’t help but toe tap or shake a body part here, as is true on almost all of these tracks.
Take A.M.E. delivers a beyond auspicious debut. The invigorating, potent grooves are uplifting. It will be great to see where the trio’s collective vision goes from here.
‘Take A.M.E.’ is out now.
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