Days in the Life
Robby Ameen
Twoandfour Records
Latin music has always played a part in jazz fusion, but for the most case, it always served as a background tinge rather than a main ingredient. Rock, funk, and jazz improvisation were always the centerpieces of fusion and electronic instruments were the key tools. Groups like Weather Report and Return to Forever often referenced Latin culture in their music through the use of Cuban and Brazilian percussion, but they were more concerned with texture than authentic rhythms from South America and the Caribbean. Even when groups employed strong Latin musicians like Alex Acuña or Airto Moreira, they mostly required these musicians to accompany funk grooves. The lack of cultural connection aligns with the style’s original path – the history of fusion has been ripe with a lack of understanding. From the start, jazz musicians tried to find their way among rock rhythms and rock musicians tried to understand jazz. Fusion musicians eventually made a link between these two worlds, but that formed the foundation of their musical output. Most forays into Latin music by fusion artists seemed more informed by a rock backbeat than clave driven concepts. An honest balance between fusion and Latin Jazz demands a musician with a thorough understanding of funk, rock, jazz, and Latin styles, a serious load of musical knowledge. Drummer Robby Ameen brings those tools to the table on Days in the Life, a steady ride through Latin Jazz and fusion.

A Strong Connection To Latin Jazz
Ameen emphasizes a mixture of Afro-Cuban rhythms and jazz harmony on several tracks. Bassist Lincoln Goines lays down an active and syncopated bass line over Ameen’s funk-tinged drum beat on “2′s & 3′s” until a conga tumbao and a piano montuno completely change the song’s character. Guitarist Wayne Krantz leaps into an edgy improvisation with a thin distorted tone, building momentum into John Beasley’s Fender Rhodes solo. Beasley provides contrast against his instrument’s understated character with an energetic statement, arriving at a steady montuno for Ameen’s virtuosic solo. Sharp percussion breaks from Ameen lead into a bluesy shuffle over organ and bass on “Una Muy Anita,” quickly broken by a shift into cha cha cha behind the melody. Trumpet player Brian Lynch runs long streams of mysterious melodies over the driving groove while trombonist Conrad Herwig builds tension with repeated ideas and offset rhythms. After a brief interlude, Beasley races through a busy and bluesy improvisation on Hammond B3, leading into a flurry of attacks filled with melodic percussive energy from conguero Richie Flores. A subdued interplay between Ameen and Flores transitions into a relaxed variation on son montuno behind the classic melody of Lee Morgan’s “Ceora.” Lynch skillfully navigates through the changes with a sensitive ear for melodic development while Herwig mixes a propulsive energy into his clever collection of ideas. Beasley creatively twists ideas through smart embellishment on piano before making way for a sparse and tasteful improvisation from Goines on acoustic bass. These pieces firmly establish Ameen’s Latin Jazz roots, declaring his expertise and connection to the style.

Wandering Into Other Stylistic Realms
Ameen freely wanders into a variety of other stylistic realms on some pieces, finding a more even fusion. Goines provides an understated line on acoustic bass while Ameen and Flores explode from unison breaks into a driving 6/8 rhythm on Joe Farrell’s “Sound Down,” leading into a relaxed melody that glides between 6/8 and swing. Herwig travels through his instrument’s wide range, running sequences through the harmony while the rhythm section pushes interactively. Lynch starts his solo reflectively, stretching into longer phrases that send the intensity level soaring into Beasley’s improvisation. Ameen lazily moves into a sparse bluesy rhythm while Krantz places short licks over the groove on “Stagger,” while the rhythm section layers into the track. Krantz utilizes the thin texture to build aggressive lines, slowly filling the groove with his bold distorted tone. The group brings the piece back down to a whisper behind Beasley’s piano, allowing him to run blues-tinged lines and rhythmic figures across the keys. A series of clearly structured claps introduces a percussive dream track as Ameen and Flores collectively improvise through “RR.” The two musicians maintain an uptempo rumba guaguanco while trading solo phrases, demonstrating incredible dexterity and keen stylistic knowledge. Ameen and Flores continue their rhythmic exploration, moving through swing and funk setting with a heavy dose of chops and a consistently interesting grasp on thematic development. These tracks open Ameen’s fusion concept beyond Latin Jazz settings, displaying a solid understanding of their similarities and differences.

Diving Completely Into Funk Fusion
Ameen dives completely into rock and funk on several songs, making a firm commitment to fusion. Krantz and Beasley wind through a jagged melody that combines different time signatures on “Swiftboating” while Ameen and Goines provide an angular funky Latin groove. Beasley twists through the rhythmic maze on Hammond B3 with a quick improvisation that develops the main theme into a fluid new idea. Krantz kicks the groove into high gear with an assertive stream of rock fueled lines and sharply syncopated ideas that inspire enthusiastic interaction from Ameen and Goines. A collection of seemingly disparate lines from each band member come together into a loping groove on “Baakline” while Lynch and Herwig spin a Miles Davis influenced melody. Herwig bounces around the funky foundation with an inspired zeal, driving repeated ascending figures and clever effects through his improvisation. Lynch takes interesting melodies to the far reaches of the harmony, creating tension as he repeatedly hands the spotlight to Ameen for quick percussive comments. There’s a feeling of chaos as Krantz repeats a short vamp, Ameen bursts into a heavy metal drumbeat and Beasley plays a keyboard melody on “Skateboard Intifada.” The group falls into an addictively funky groove for solos, allowing Beasley to drive percussive Hammond B3 lines through the song. Ameen and Goines make an abrupt change into a double time rock groove while Krantz explodes over them and builds his solo while the rhythm section winds through several feels. These tracks place Ameen in an unapologetic fusion setting that shows his deep understanding of the backbeat and ability to push a fusion setting into a frenzy.

Giving New Meaning To Fusion
Ameen gives new meaning to fusion on Days in the Life as he cleanly mixes funk, rock, jazz, and Afro-Cuban rhythms while holding onto the primary aesthetics of each style. The drummer contributes the majority of the compositions and his approach cleanly straddles both worlds intelligently. Ameen enjoys playing with the relationships between the different rhythms and finds clever ways to switch between genres without disrupting the flow of the song. There’s a heavy emphasis upon the groove, which aligns solidly with the modern fusion world and continually pushes the music to new heights. Ameen’s skills as a drummer form the foundation for this exploration between styles as he creatively interprets each style while effortlessly interacting with energy and musicality. Goines and Flores act as the perfect groove mates for Ameen, playing around the active drum beats with a combination of tradition and innovation. Lynch and Herwig deliver stellar performances injecting a serious dose of jazz improvisation power into the mix. Beasley and Krantz add a major shot of funk grease and rock edginess into the album, helping build that connection to the traditional concept of fusion. Ameen skillfully brings all these elements together onto Days in the Life, creating a solid product that respects rock, jazz, and Latin traditions while sending out a sincere invitation to each genre’s listeners.

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Check Out These Related Posts:
Weekly Latin Jazz Video Fix: Robby Ameen
5 Tips For Musicians Making Their First Steps Into Latin Jazz
Revisiting Latin Jazz Classics: Palmas, Eddie Palmieri
Album Of The Week: The Latin Side Of Wayne Shorter, Conrad Herwig

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