(*How he signed his name along with drawing a
trumpet and triplet note)
Ameen Muhammad was a musician, who played trumpet, conch shell, and a myriad of
percussion instruments. He was a
composer and leader of the Chicago 3-D, and a member of many other
improvisational and creative groups. He
was an educator and an active member of the AACM (Association for the
Advancement of Creative Musicians). He
was the father of one daughter he introduced to me – Amina, and two sons of
which one is deceased. He was a long
time friend to many others, and most recently someone I shared special
conversations with. He was such a
beautiful soul and I will miss the ability to experience his presence on this
side of existence.
The last time I saw Ameen, (oh what potential that has); he was performing with
Ernest Dawkins’ New Horizons’ Ensemble at Fred Anderson’s Velvet Lounge in
Chicago, Thursday, January 30. The
group was comprised of leader Ernest Dawkins on sax and percussion, Ameen
Muhammad on trumpet, conch shell, and percussion, Steve Berry on trombone and
percussion, Jeff Parker on guitar, Darius Savage on bass, and Isaiah Spencer on
drums. The incredible music of the
first set performance inspired me to take notes and to jot down a few possible
yin-yang zin-zang zebrarings to use in the arts and music promotional jazzhope
website http://www.jazzhope.com.
During the interlude between sets, Ameen asked what I was writing. Being involved with the written word with
his educational work in the schools, he was interested especially in the more
humorous nature of my words, often related to song lyrics and titles. I had written some phrases related to the
band member’s names, and for Ameen had used the dual meaning of Mean to Me;
it’s what you mean to me. I read aloud,
“Ameen, amino; do they call you a mean oh man?” And finished with Mean to me,
it’s what you mean to me. And he smiled
and interjected with the chide, “Ameen, as in, I mean what I say.”
We talked more about his Roots “N” “D” Blues, the jazz opera project he had
created and performed “Act I” of November 15 at LaFollette Park. I said I was interested in seeing additional
Acts. He said to write the City (the
sponsors: Chicago Park District / Jazz Institute) and ask to provide additional
funding. Ameen asked me to send him
more of my words and ideas to use in his educational programs with the
kids.
Ameen remarked about the hat I was wearing, the one with multitudes of
musical jazz instrument pins. I lifted
off my hat to show all the various pins and realized the trumpet pin should be
his gift. (Take note, I do not give
away my pins too often, maybe a saxophone to Dewey Redman; a piano to Barney
McAll, those that have played music that has set my soul free, only if I had
extras of that instrument, and maybe if the musician were wearing a hat the pin
would display well on). At the time, I
was wearing an extra silver trumpet on my necklace I had bargained down to $4
while visiting Cancun on a recent Caribbean jazz cruise, was definitely
inspired by the musical performance, and Ameen was wearing the perfect head
gear. So, I presented him with the
trumpet pin from my hat. He said, this
is just what I need, and pinned it to his hat.
Ameen was a careful listener and subsequent integrator. When I first talked with Ameen during the
August 6, 2002 live recording of the New Horizon’s Ensemble at the Hothouse, I mentioned
seeing the Count Basie Orchestra. The
next set Ameen blew a tiny classical Basie melody. During our conversation on January 30th, I mentioned I
was originally from Detroit and in the last set he called out “Detroit” as one
of the “trane” stops. I have learned to
truly appreciate these special touches provided during AACM member
performances.
Musically, the second set performed by New Horizon Ensemble that evening was
more outstanding than the first. Maybe
it was the pin. Maybe it was just the
zin-zang of everything. The band agreed
it was a special evening of collaboration.
Who could fathom it would be the last time I saw Ameen.
Somewhere there exists the strength to handle the sudden departure of
this talented artist. As with most
adversities I encounter, I will attempt to balance the big questions of “Why”,
and “When or where”, through the music and creative legacy Ameen Muhammad’s
presence has bestowed.
Notes for this article taken from
Jazzhope website: http://www.jazzhope.com
Tuesday, August 6, 2002 Review of New Horizon’s
Ensemble at the Hothouse, by Rebecca Hope
It was the
usual multi-faceted Chicago Tuesday night choices in life. Worked late in the
burbs and it was either the 2nd set of 4 total sets in two days at the Hothouse
Kahbeer Dawkins live recording or the 2nd set of Tain Watts 13 in six days at
the Showcase. Time is relative and a dimension in the warehouse of Jazz. A
parking gel in front of the Hothouse and the mathematical market share led me
down the Hip-pi-ti-Hop Dawk trail. I will re-tain the tain re-view for a later
date. I am rarely disappointed with any one of Chicago's choices, and tonight
was no exception. New Horizon Ensemble Members tonight included Ameen Muhammad,
Steve Barry, Darius Savage been just as-real, (replacing Yosef Ben-Israel), and
Avreeayl Ra. Oh, and of course the
foundation and leader, Ernest Kahbeer Dawkins. As Larry so adequately
transmitted cellularly while I was cruizin' the LSD north bound traffic home,
"Ernest is so original". Back
to the Kahbeer 2nd set review, the tune Dolphy Dance with Monk...was magical
and classic. Previous to this was a hip-hop tune sans the poet; I thought it
could be indexed as hip-it-ti-pi-hop down the seren-dip-it-ti-pi-'trane trail.
Then, after the first take, "In Walked Khari B". (Six marvelously
mesmerizing musicians were on stage as originally estimated). I HOPE both
versions make the CD release...it would be interesting to listen to the before
and after experience, one more time. P.S. Thx Ameen for handling the hose whip
apparatus and that Basie phrase, along with the myriad of other sounds and
trumpeting. Thx to the entire ensemble for the molecular delightenment.
Aside zebraring note. I am puzzled with the description of this band in
available coverage as being "3rd" generation, but forgot to ask.
Khari B is AACM Mwata Bowden's son - isn't that 2nd generation of an original?
At first scan, I would estimate an average of 2, (2nd) generation but may not
be aware of a hidden historical layer. But wait, if you ever watched the movie
about the mathematical formula at http://www.jazzbebop.com you would have the
additional equation of: 1 + 1 = 3. Don't even get me started on the formula of
PI in Hip-PI-ti-Hop. Let's see the formula of a Sphere is 4 PI - r - cubed. And
Monk's middle name is Sphere.
Hope’s Laws of Motion, the First: For every adversity in life, there is an
equal and opposite and sometimes enhanced pleasure
Hope’s Laws of Motion, the Second: What goes ‘round, comes ‘round.
Friday,
November 15, 2002 Review of Roots “N” “D” Blues, a jazz opera by Ameen
Muhammad, 7PM at LaFollette Park, 1333 N. Laramie, by Rebecca Hope.
Roots"N" "D" Blues a jazz opera by Ameen
Muhammad, and starring some of our favorites...featuring Oscar
Brown, Jr., Maggie Brown,
Dee Alexander, Tanya Reid, Joan Crawford, Evod Magek, Amina Muhammed, Ari Brown,
Edwin Daugherty, Ernest Khabeer Dawkins, Ed Wilkerson, Douglas Ewart, Marvin
Davis, David Young, Robert Griffin, Isaiah Jackson, Yosef Ben Israel, Vincent
Davis, Byron Bowie, Maia and Muntu Dance Company. The Admission was FREE, and sponsored by Chicago Park District
and Jazz Institute. Act I was an
interesting opera gala with costumes complete with vibes and dancing. If you
enjoyed this, let the city and the Jazz Institute know - there could be Act II
and III! Please call 312-427-1676 for
more information.
AACM site: http://www.aacmchicago.org/
Ameen Muhammad: Musician, Composer, Educator Instruments: Trumpet,
Percussion, Small Instruments. A
highly regarded trumpet player on the "new music" scene who has also
been deeply involved in the development of numerous arts-in-education programs
and artistic residencies including HIP TRIP for Chicago Public Schools and
Urban Gateways' Arts For Learning Residency. Ameen has toured with his 'Griot
Band' to elementary schools and served an artistic residency for the Chicago
Housing Authority's (CHA) Lighted Schoolhouse Program. He has recorded and/or
performed with Anthony Braxton, Edward Wilkerson, Malachi Favors, Douglas
Ewart, Steve McCall, Don Moye, and many others. He is also an active member of
the AACM.
Trumpeter Ameen Muhammad himself grew up in a family,
which valued both Black traditions and Black Music. His grandparents told him
that Black people were Africans who were forcibly enslaved and taken overseas;
emphasizing the Black roots lay in Africa. At home, he listened to the full
gamut of music, which comprise Great Black Music. These initial exposures
eventually inspired him to study at the Association for the Advancement of
Creative Musicians (AACM) School of Music, which has trained many of
Chicago's finest musicians. Mr. Muhammad's performances include appearances on
albums, CDs and films, featuring noted ensembles such as New Horizons
Ensemble, Shadow Vignettes. Ameen Muhammad also founded and
directs his own ensemble, Ameen Muhammad and Chicago 3D. Mr. Muhammad
has toured the USA, Europe and Japan performing in concert, workshops and music
festivals. Mr. Muhammad is also an Afro-centric educator. He has developed and
presents The Hip Trip, African-American history through the forays of
Great Black Music. The Hip Trip has been presented to over 10,000 children and
3,000 parents throughout the greater Illinois area.
Information
from http://search.centerstage.net/music/whoswho/AmeenMuhammad.html
Ameen Muhammad: Trumpeter, band leader and award-winning composer
Ameen Muhammad is probably best-known for his work with Ernest Dawkins' New Horizons
Ensemble, but he also has his own quintet --Chicago 3-D -- which played at the
1997 Chicago Jazz Festival and has been the Vice Chairman of the seminal AACM
from 1983 to the present. He has also played in the Kahil El' Zabar Infinity
Orchestra. He was also the recipient of
a "Meet the Composer New Residencies" grant (1995-1998) where he was
able to take the music of his Chicago 3-D to schools and community centers
across the Southside and all of Chicago: "I liken my role to that of the
African Griot, whose function is to impart information on the ethnic heritage,
promote ethnic traditions, and inspire cultural and intellectual awareness via
the oral tradition; relating stories orally transmitted through generations and
the vehicle of Great Black Music." In addition to his educational and live performance
work, Muhammad has also appeared on a number of recordings including: Chicago
Now: 30 Years of Great Black Music (Silkheart Records 1996), Southside
Street Songs (Silkheart Records, 1993, 1995), After the Dawn has Risen
(Open Mind Records 1992), and Birth of a Notion (King Records 1990).
Chicago 3-D: Trumpeter Ameen Muhammad's quintet explores the African
roots of jazz. Other members include saxophonist Ari Brown, bassist Yosef Ben
Israel, drummer Dushun Mosley, and vocalist/all around musician Maia. The band
played at the 1997 Chicago Jazz Festival.
New Horizons Ensemble: Since it’s founding in 1979, New Horizons has
been both critically and popularly acclaimed, as both musicians and educators
-- teaching people about Jazz. Led by saxophonist Ernest Dawkins, the group
includes many members of the third generation of the famous Association for the
Advancement of Creative Musicians (AACM), trumpeter Ameen Muhammad, trombonist
Steve Berry, bassist Yosef Ben Israel, guitarist Jeff Parker (also in post-rock
band Tortoise), and drummer Avyeeral Rah.
The group mixes avant-garde jazz with some of the older elements of
traditional swing. Says the Chicago Tribune, "... There may be no form of
jazz left untouched by this adventurous, high-flying ensemble." Their
Howard Reich says, "This band can enlighten an audience while enthralling
it." The Trib also calls the bands' 1993 recording South Side Street
Songs (Silkheart Records) "...a celebratory, life-affirming work...a
profound addition to the avant-garde repertory..." They recently released
their recording at the Velvet Lounge, Mother's Blue Velvet Shoes (on
Dawkins' Dawk label), the group's first live album since their debut 6 years
ago. Other recordings include Chicago Now (1994; also on Silkheart), and
After the Dawn Has Risen...New Horizon Ensemble Live in Leverkusen (Open
Mind/Sound Aspects Records).
Shadow Vignettes: 27-member big band led by reedman Ed Wilkerson has
only performed in Chicago a few times in the last decade. It's membership
(basically the stellar folks you'd get if you turned the AACM upside down and
shook it) includes Robert Griffin and Ameen Muhammad on trumpet, Steve Berry
and Isaiah "Ike" Jackson on trombone, Mwata Bowden, Ernest Dawkins,
Ari Brown and Vandy Harris on saxophone, Harrison Bankhead and Yosef Ben Israel
on bass, percussionists Reggie Nicholson and Dushun Mosley, cellist Naomi
Millender and vocalist. Anyway, Ed Wilkerson's a fantastic writer, and this is
a great big band, that walks the big band border somewhere between Ellington
and experimental. They were among the
headliners at the 1998 Chicago Jazz Festival, joined by special guests (and
Chicago saxophone legends) Fred Anderson and Von Freeman.
Chicago
Tribune | Howard Reich - ... It may take years for Chicagoan Ameen
Muhammad to get his folk opera "Roots 'N' 'D' Blues"
fully staged. OUR CRITICS' CHOICES November 17, 2002. ... www.chicagotribune.com/features/chi-howardreich.storygallery
Between the musical numbers, which veer from
straightforward folk blues to avant-garde improvisation, Brown and [Muhammad]
take turns reading aloud the libretto (which Muhammad calls a
"Negretto"). Essentially, this text revisits key portions of Genesis
from the Bible, but in a richly urban, floridly poetic vernacular. Since most
are familiar with passages such as "In the beginning," Muhammad's
black-culture version proves at ...