A skilled musician is like a Maserati, carrying a load of rumbling oomph far exceeding the level typically required to get the job done. In-demand studio musicians like Nashville drummer Justin Amaral reach the heights of their profession by unleashing their horsepower only when asked. More often, restraint is key.

Truth is, most musicians are eager for opportunities to flex musical muscle and let creativity flow. Amaral’s debut album, The Hymnal, stands as rousing proof. Featuring a number of the percussionist’s pro pals, such as sax and woodwind whiz Jeff Coffin (Dave Mathews Band, Béla Fleck) and multi-instrumentalist Fats Kaplin (Jack White, Mitski), the album finds these and other virtuoso players flying freely atop Amaral’s vibrant layers of drums and percussion. Arranged by Amaral but released under the name Life in Grooveland, the project presents 10 familiar hymns performed instrumentally in one-on-one pairings featuring the drummer and his guests, who in fact often become one-person ensembles by digitally layering themselves playing their respective instruments.

Amaral’s path to Music City success was preceded, he tells the Pulse, by time spent in the ‘Boro. Before moving to Nashville in 1999 with his then-fresh degree from the Berklee College of Music, he worked at a week-long music camp held at MTSU, and would later return to enjoy the college-town vibe. Amaral recalls the city’s music scene being “a beautiful contrast” to the rock and country found in Nashville during the early 2000s. While cutting his teeth at local clubs such as Main Street and Sebastian’s, the drummer scored an early gig after an audition at the Boro, sitting in with The Guy Smiley Blues Exchange. His present-day connection includes friendship with noted Rutherford County artist and musician Heather Moulder, a musical guest on The Hymnal.

Amaral recently made a virtual visit to tell the Pulse more about his exceptional project.

MURFREESBORO PULSE: What was the initial inspiration for your Life in Grooveland hymns collection?
JUSTIN AMARAL: It was about 10 years ago that the idea of making my own record began to surface in my mind and on my heart. With a few exceptions, I’ve spent my entire career serving other musicians and writers to achieve their musical visions. I wanted and perhaps needed to create a piece of art which represents 100% of myself.

How much of each arrangement was in place before entering the studio, and how much came together in collaboration with your guest duet partners?
For the most part, the arrangements were in place, but I intentionally created space and left room for the other instrumentalists to shine. I went into it knowing if I gave them the opportunity, they could create something special. Fats Kaplin’s playing on “On Christ the Solid Rock I Stand” comes to mind as an example. In that song, there is a funky, New Orleans-inspired drum breakdown. I didn’t have anything specific for Fats to play. I just asked him to back me up. What he came up with ended up being a signature part of the song. On “The Hyfrydol,” Jeff Coffin, who played flute on the track, added a similar contribution. There were holes in the arrangement where I was expecting a riff or solo. But Jeff, being the musical genius that he is, came up with a part which elevated the whole piece.

What guided your decision as to which non-percussion instrument to feature on each of the tracks?
Each track has its own story but it all starts with the music—the melody and what kind of feel I wanted the track to have. After I had the music more or less figured out, I would often let my imagination wander and allow a visual image to materialize. For instance, when I was dreaming up “Be Thou My Vision,” the imagery of a lush, woodsy landscape appeared in my mind. So, for that song the sound of an acoustic, earthy Weissenborn [lap slide guitar] was perfect. Once I knew the instrumentalist was on board and up for the project, I would tweak the arrangement and cater to their strengths. The fact that I have a personal relationship with each player also really helped. I’d like to think that their personality, as well as my own, shines through each performance.

How did you decide to work around these hymns’ potential to become repetitive?
I took them out of the liturgical setting and treated them like songs. I was also willing to depart from the melody and write a bridge, add a solo or a percussion breakdown. I also played freely with the meter. For example, on “Come Thou Font of Every Blessing” the traditional meter is in 3/4. I switched this up and rewrote it in 5/8.

Numerous Bible passages refer to praising God with musical instruments. Any thoughts about the fact that your work has the potential to serve as a worshipful act?
Yes, and thank you for bringing that up. I was raised in a Christian household and I experience God (a Creator, Higher Power, whatever you want to call it) through a Christian perspective. There is not a lot of daylight between my walk as a spiritual being and as a musician. This album is my own special offering—you know, the very act of playing a drum, sending sound waves into the world, to be received by someone, it’s a personal act of worship. But how it’s received isn’t up to me.

Hymns like these are revered pillars of traditional Christian faith. Were you concerned that some people might feel it is inappropriate to “jam” on them, so to speak?
I did have reservations. I know and respect that for many, these hymns are sacred. Before we got started I had a long talk about this with my co-producer and engineer, Dave Coleman. It was clear that we would be treating these timeless melodies with respect and reverence. I hope and trust that comes across. I take comfort knowing I’m not the first to express myself with these centuries-old melodies and I won’t be the last.

Have you gotten feedback from people who have no personal or spiritual connection to the melodies you’ve interpreted?
I have indeed! The album seems to strike a chord with both Christians and non-believers alike. I think that speaks to the timeless nature of the melodies. I had no agenda with this album except to express myself artistically. For some, the melodies are fresh and new and they are drawn to the grooves. Others have a deep history with the hymns and connect on a different level. I appreciate both perspectives.

Have you heard any objections?
I had one musician who declined to be part of the project due to his personal convictions. That made me really sad, but also forced me to really connect with my intentions. Interestingly, some of the people hardest to win over are those who are so familiar with hymns they assume they’ve heard it all before. They are usually quite surprised when they hear my interpretation.

The Hymnal, by Life in Grooveland, is available on Bandcamp, or on Soundcloud by clicking here.

Watch videos from The Hymnal here.

Visit the album website (www.lifeingrooveland.com) here.