In the Wurlitzer 805 Centura—fitted with two full-size keyboards and an Orbit III analogue synth on top—she discovered a liquid electricity that could evoke the church organ of her youth in Detroit, the droning waves of Indian music, as well as the strafing fury of her late husband’s saxophone runs. While she would utilize a reedman like Frank Lowe on future recording dates, she no longer required the likes of Pharoah Sanders, Archie Shepp, or Joe Henderson on the frontline. All of that fiery sound could be contained within herself now.
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