Amina Claudine Myers preforms powerful Café OTO solo set
Calvin KcKenzie
Monday, April 7, 2025
The revered singer and keyboardist delved into deep blues and gospel sounds on this intimate solo show in London
Amina Claudine Myers is an artist whose place in the history of Black music should be more prominent than it has been outside of the rarified world of avant-garde jazz circles, despite much of her music being rooted in gospel and rhythm and blues. This may be because of a focus on her long association with Muhal Richard Abrams’ AACM (Association for the Advancement of Creative Musicians), who nurtured and helped develop the careers of the likes of Anthony Braxton and Wadada Leo Smith. Indeed, her last album was a collaboration with Wadada Leo Smith on Central Park’s Mosaics of Reservoir, Lake Paths and Gardens.
Her love of the spiritual became clear as soon as she made her entrance, walking towards the stage through an expectant crowd at Café OTO signing a capella ‘Down On Me’, from her album Sama Rou: Songs Form My Soul. This set the tone of the evening: a continuous set divided between solo piano and Hammond organ, which, she declared, would be difficult without pedals, something that only the more musically astute would understand!
The gospel theme continued with a sparse rendition of ‘Steel Away’, her delicate and occasionally quavering vocal contrasting with the sometimes-bombastic piano phrasings. The dynamic range of her keyboard skills were a sight to behold, as if the spirits had possessed her. Abstract rolling patterns interspersed with darker passages chasing out the demonic forces that were threatening to take hold.
She delighted in paying homage to Bessie Smith on ‘Standing in the Rain’, which was pure blues, and surprised many with the inclusion of John Lee Hooker’s ‘Hard Time Blues’, the lyrics changed to reflect the women’s point of view. Quite something on Hammond organ rather than guitar.
After an extended workout which highlighted some of her more experimental techniques, including vocalisations that sounded like speaking in tongues, she closed with the soul-tinged gospel of ‘Lord You’ve Been So Good to Me’.
This was her first UK solo appearance in nearly two decades and debut at OTO. Her last UK performance was in a group setting at the Barbican with Archie Shepp in 2018 as part of that year’s London Jazz Festival, and it was fascinating and revealing to experience her solo in this intimate setting.
