Jessmayn Rains- 12.26.24
Jessamyn learned to be a musician in Central Illinois. She had many teachers: a decrepit old lady who played eleven instruments; a chain smoking jazz drummer; a few heavy metal guitar guys; a stressed-out band director or two; and, of course, some church ladies with tight perms in red culottes. And then there was the guy who started the whole thing—her dad—a phenomenally talented pianist who, in midlife, exchanged his long black shiny grand piano for a Yamaha keyboard and some really loud speakers.
Growing up, Jessamyn found music to be a source of both pain and elation: She played drums in the school marching band, which means that in junior high she walked down the streets of her hometown in navy polyester bell bottoms and a hat with a big feather plume (pain), while completely rocking out on the tri-toms (elation).
Jessamyn found her “True North,” as they say, when she began writing poetry in high school, and a couple of years later, when she began writing songs. Like many who aspire to write and create, she was chasing after beauty, expression, and truth. An outlet for all that Midwestern pain and elation. An attempt to capture discrete moments and convey something true via the juxtaposition of them. This is why she calls her music Folk Impressionism.
"I’ve been writing songs for years now, and not much has changed," Jessamyn said. "I am still looking for the right words, still chasing after that elusive melody." And though she no longer takes formal lessons, she said she still has many and varied teachers: the local blues musicians who play in smokeless bars; the classic rock guys gigging out in small towns; the church choirs; the chanting monks and nuns; the odd German society accordion player; and, most recently, a group of Rwandese immigrants, singing and dancing their hearts out at a Sunday night church service.
"The gift of music is everywhere," Jessamyn said, "and it is for everyone.”
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