Playing Alice Coltrane’s very own, restored harp, leading her longtime trio of Rashaan Carter on bass and Alan Mednard on drums (with contributions by Shabaka, Meshell Ndegeocello, Makaya McCraven, and co).
“We’ve all spent the past two or three years on the road and so there’s a personal and musical familiarity when we come to record together. Since Rashaan also produced the album and we decided to record it all at my home, it created a comfortable intimacy that kept us honest, since there was no one else there except for us. It produced spontaneous improvisations on tracks like Reckoning and Discernment, which came about entirely in the moment. While on End Means I had the time to decide on using an extended technique on harp, which muffles the string like a kalimba. You hear those moments come through far more on this album than any others I’ve created.”
“Everyone who featured on the record came through organically and it all fed into the overall theme of the album, which is playfulness. The gadabout is someone who is looking for happiness and that’s something I’m always trying to do with my band, especially when we’re exhausted and on tour! Ultimately, this is an album about finding joy throughout the journey, which is something everyone can relate to.”

Thirteen feeling, liquid synth explorations, rooted in ambient, Balearic and Kosmische; melodic, tremolo waves and rhythmic, organic vibrations, attuned to the more blissed-out, ambient fall-out from E2-E4… and of course to Ruscha’s own paintings.
“I really love when music forces you to forget,” he says. “There’s this beautiful moment where everything coalesces, and you just don’t think about anything.”
Refreshing, transporting music.