Amina Claudine Myers (New York, NY) - Hammond B3 organ and voice
The first-wave artists comprising the AACM (Association for the Advancement of Creative Musicians) encompassed a breadth of what would later become the organization’s motto: “Great Black Music, From the Ancient to the Future”. The groundbreaking initiative of self-determining musicians was born in 1960’s Chicago, and its early members constituted a vital nexus of musically and geographically diverse histories and futures.
Among these first-wave artists, none expresses their deep roots in Southern African American traditions quite like the virtuosic, versatile and emotionally moving pianist, organist, vocalist and composer Amina Claudine Myers. Born in a small Arkansas town of about 250 and raised in Arkansas and Texas, Myers was only four years old when she began playing the piano. While a teenager, the young prodigy was directing choirs and playing organ in her Dallas area church, while also beginning her studies of European classical piano repertoire. Already an experienced professional when she started college, Myers began making jazz, r&b and gospel gigs while attending Philander Smith in Little Rock. At Philander Smith, she majored in music education, played in a college jazz ensemble and studied classical piano. In 1963, a public school teaching job brought Myers to Chicago. There, she would join the AACM, while also working as accompanist to such jazz greats as Gene Ammons and Sonny Stitt. ...
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Amina Claudine Myers (New York, NY) - Hammond B3 organ and voice
The first-wave artists comprising the AACM (Association for the Advancement of Creative Musicians) encompassed a breadth of what would later become the organization’s motto: “Great Black Music, From the Ancient to the Future”. The groundbreaking initiative of self-determining musicians was born in 1960’s Chicago, and its early members constituted a vital nexus of musically and geographically diverse histories and futures.
Among these first-wave artists, none expresses their deep roots in Southern African American traditions quite like the virtuosic, versatile and emotionally moving pianist, organist, vocalist and composer Amina Claudine Myers. Born in a small Arkansas town of about 250 and raised in Arkansas and Texas, Myers was only four years old when she began playing the piano. While a teenager, the young prodigy was directing choirs and playing organ in her Dallas area church, while also beginning her studies of European classical piano repertoire. Already an experienced professional when she started college, Myers began making jazz, r&b and gospel gigs while attending Philander Smith in Little Rock. At Philander Smith, she majored in music education, played in a college jazz ensemble and studied classical piano. In 1963, a public school teaching job brought Myers to Chicago. There, she would join the AACM, while also working as accompanist to such jazz greats as Gene Ammons and Sonny Stitt.
In the AACM, the prodigious and multitalented player began working out musical ideas of her own. It was fertile ground for development, as Myers was among an emerging group of African American artists who would come to be known as some of the most important experimental composers and improvisers of their generation. Her versatility as a composer paralleled her versatility as a performer. A commitment to vocal works was nurtured in the early years of the AACM. It’s been a career-long passion that has included notated and improvised solo and choral music, with a range of instrumental combinations. She has composed for orchestra, chamber ensembles and jazz orchestra. She has written musicals and plays, and also acted in the theater. In addition to being a master composer and improviser, Myers is also a valued interpreter. A short résumé of collaborators lending credence to her range and abilities includes Archie Shepp, Lester Bowie, Charlie Haden, James Blood Ulmer, Muhal Richard Abrams, Eddie Harris, Anthony Braxton, Henry Threadgill, Jim Pepper and Rahsaan Roland Kirk.
In 2017, Nameless Sound was honored to present Amina Claudine Myers’ first Texas appearance since her teenage years in the church. Two distinct concerts offered two aspects of Myer’s music: a concert for voice and piano, and a pipe organ recital.
For this appearance, we will experience Myers accompanying her own singing on Hammond B3 Organ. Bearing a voice with the depths of her gospel and the blues roots, and accompanying herself with virtuosic technique, Myers has earned critical acclaim for her vocal performances since her landmark 1980 release Amina Claudine Myers Salutes Bessie Smith.
Link:
http://www.aminaclaudinemyers.com/
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