Playable, correctly spelled, and not how the chord is normally voiced. Right now this is the shapes that put a ninth, eleventh or thirteenth below the root.
AmMaj9 is A, C, E, G# and B — AmMaj7 with the ninth added on top.
It sounds the same unease with more colour over it. The ninth softens the edge without resolving anything.
Minor tonic — melodic minor, extended.

| A | C | E | G# | B |
|---|---|---|---|---|
| 1 | ♭3 | 5 | 7 | 9 |
Also written AmM9, Am(maj9) or A-Δ9. The same chord either way; which spelling you meet depends on who wrote the chart.
Five notes and four fingers, so something has to go. Keep C and G# (they fix the quality) and B (what the symbol is about). Let E and A go, in that order — a perfect fifth says nothing the root has not, and in a band the bass has the root.
Play AmMaj9 as a shell — root, third and seventh — and the spare string takes the 11 (D) or the 13 (F#).
All 8 common shapes as fret numbers, lowest string first. Hover or tap one to see it drawn.
How you get to it. The turn that lands on AmMaj9 is Bm7♭5 to E7♭9: the ii and the V of A minor, which is where a minor tonic is usually arrived at rather than simply begun on.
Every note of AmMaj9 is in A harmonic minor and A melodic minor.
Each of those is a page: the scale across the neck, and the chords it harmonises into — which is where AmMaj9 sits in it. Every scale.
Change one note of AmMaj9 and you have Amaj9 (the minor third becomes the major third), Am69 (the major seventh becomes the sixth), Am9 (the major seventh becomes the flat seventh), AmMaj7 (drop the ninth), AmMaj11 (add the eleventh) or Amadd9 (drop the major seventh).
AmMaj9 is a minor chord — root, minor third, fifth. Minor chords on every root.
The common shapes and the derived voicings come from different places, and both are explained in how this site is built.
Shows each chord the way this style would voice it, and marks which of its alternatives belong to the idiom.