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Patrice RushenPizzazz

Label:Elektra – 6E-243
Format:
Vinyl, LP, Album, Stereo, SP - Specialty Pressing
Country:US
Released:
Genre:Funk / Soul
Style:Soul, Funk, Disco

Tracklist

A1Let The Music Take Me
Backing Vocals [Background Vocals]Josie James, Lynn Davis, Patrice Rushen, Roy Galloway
CongasMelvin Webb
Electric Piano, Lead Vocals, Percussion, Soloist [Synthesizer Solo]Patrice Rushen
Music ByPatrice Rushen
6:50
A2Keepin' Faith In Love
Backing Vocals [Background Vocals]Patrice Rushen, Pauline Wilson, Syreeta Wright Robertson
ConcertmasterJerry Vinci*
DrumsJames Gadson
Electric Piano, Lead Vocals, Piano [Acoustic]Patrice Rushen
Lyrics ByAngela Rushen
Music ByPatrice Rushen
PercussionBill Summers
4:07
A3Settle For My Love
Acoustic Guitar, Bass"Ready" Freddie Washington*
Backing Vocals [Background Vocals]Lynn Davis, Patrice Rushen, Roy Galloway
Drums, Electric Piano, Lead Vocals, PercussionPatrice Rushen
5:15
A4Message In The Music
Backing Vocals [Background Vocals]Jim Gilstrap, Josie James, Lynn Davis, Patrice Rushen
Music By, Lyrics ByPatrice Rushen
Piano [Acoustic], TambourinePatrice Rushen
Written-ByPatrice Rushen
3:00
B1Haven't You Heard
Backing Vocals [Background Vocals]Josie James, Lynn Davis, Patrice Rushen
DrumsMelvin Webb
Electric Piano, Lead Vocals, Percussion, Piano [Acoustic]Patrice Rushen
GuitarWali Ali
6:44
B2Givin' It Up Is Givin' Up
Backing Vocals [Background Vocals]Jim Gilstrap, Lynn Davis, Patrice Rushen, Roy Galloway
Clavinet, Drums [Boo Bam Drums], Electric Piano, Lead Vocals, PercussionPatrice Rushen
Drums, Percussion, Bass"Ready" Freddie Washington*
Guitar, Backing Vocals [Background Vocals]Melvin "Wah Wah" Ragin*
Lead VocalsD. J. Rogers
4:58
B3Call On Me
Backing Vocals [Background Vocals]Josie James, Lynn Davis, Patrice Rushen, Roy Galloway
DrumsMelvin Webb
Electric Piano, Lead Vocals, Percussion, Piano [Acoustic]Patrice Rushen
Music ByPatrice Rushen
6:47
B4Reprise (Message In The Music)
Written-ByPatrice Rushen
0:58
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Credits

Notes

"SP" in label matrix denotes a Specialty Records Corporation pressing.

Recorded at Conway Studios, Hollywood, California
Mastered at Allen Zentz Mastering

Issued with a custom printed inner sleeve containing lyrics and credits on one side and an image of Patrice on the other.

Publishing and rights society by track:

A1 - Copyright © 1979 by Baby Fingers Music and Shownbreree Music ASCAP
A2 - Copyright © 1979 by Baby Fingers Music ASCAP
A3 - Copyright © 1979 by Baby Fingers Music ASCAP, Freddie Dee Music BMI and Shownbreree Music ASCAP
A4 - Copyright © 1979 by Baby Fingers Music ASCAP
B1 - Copyright © 1979 by Baby Fingers Music ASCAP, Mims Music ASCAP, Freddie Dee Music BMI and Shownbreree Music ASCAP
B2 - Copyright © 1979 by Baby Fingers Music ASCAP and Freddie Dee Music BMI
B3 - Copyright © 1979 by Baby Fingers Music and Shownbreree Music ASCAP
B4 - Baby Fingers Music ASCAP

Executive Producer: Patrice Rushen for Baby Fingers Inc.

Recorded at Conway Studios, Hollywood, California

D.J. Rogers and Al McKay appear courtesy of ABC Records
Leon "Ndugu" Chancler appears courtesy of Drumsong Productions Inc. and Epic Records
Kim Hutchcroft, Larry Williams, and Pauline Wilson appear courtesy of Horizon Records
Bill Summers appears courtesy of Prestige Records
Reggie Andrews appears courtesy of Karma-O Productions
Syreeta Wright Robertson appears courtesy of Motown Record Corporation
℗&© Elektra/Asylum Records
A division of Warner Communications Inc.

Barcode and Other Identifiers

  • Matrix / Runout (Matrix, A-side, label): 6E-243-A
  • Matrix / Runout (Matrix, B-side, label): 6E-243-B
  • Matrix / Runout (Runout, A-side, etched, SRC logo stamped, variant 1): 6E-243-AS-SP [SRC logo] AZ CB 1
  • Matrix / Runout (Runout, B-side, etched, SRC logo stamped, variant 1): 6E-243-B 3SP [SRC logo] AZ CB 1-1 SM 1 - 1
  • Matrix / Runout (Runout, A-side, etched, SRC logo stamped, variant 2): 1-2 6E-243-AS-SP [SRC logo] AZCB
  • Matrix / Runout (Runout, B-side, etched, SRC logo stamped, variant 2): 6E-243-B 3SP [SRC logo] AZCB 1-1 SM 1 - 1
  • Pressing Plant ID (In label matrix): SP
  • Rights Society (A1 to B4): ASCAP
  • Rights Society (A3, B1, B2): BMI
  • Matrix / Runout (Variant 3 Side One ): 6E-243A 2 SP 1-2 (SRC Logo)
  • Matrix / Runout (Variant 3 Side Two): 6E-243A- BS-1-PRC-W O-ISM2-2

Other Versions (5 of 28)

View All
Title (Format)LabelCat#CountryYear
New Submission
Pizzazz (LP, Album)Elektra, ElektraGM-200.2673, Lps.200.2673Venezuela1979
Recently Edited
Pizzazz (LP, Album, Promo, Stereo, PRC-W Compton Pressing)Elektra6E-243US1979
New Submission
Pizzazz (LP, Album, Stereo, AR - Allied Pressing)Elektra6E-243US1979
New Submission
Pizzazz (LP, Album)ElektraK.52190UK1979
Recently Edited
Pizzazz (LP, Album, Stereo)Elektra6E-243Australia1979

Recommendations

Reviews

  • brandosoul's avatar
    brandosoul
    Edited 3 years ago
    Several jazz purists initially characterized Patrice Rushen as a promising wunderkind with unique virtuosity, but also decried her fascination with contemporary sensibilities. Never one to pigeonhole herself by a singular genre or form, Rushen was heavily invested in pushing the possibilities of where her artistry could go. It wasn't a case that she sought out to be molded or defined by any entity for commercial appeal, especially not under the often chauvinistic guise of the jazz realm. So when she signed to Elektra Records in 1978, she played by the beat of her own drum. The sea changes that occurred in the colorful waters of jazz and R&B during the late 1970s caused several artists to embrace popular styles that dominated radio markets. Rushen's foray into R&B would profoundly impact the affluent, young black middle class that cherished the artfully urbane and slick nuances that came from the likes of Quincy Jones, George Benson, Al Jarreau, The Blackbyrds, and Minnie Riperton. From 1978 to 1980, she and associates, Charles Mims, Jr., bassist Freddie Washington, and producer Reggie Andrews, helmed a trio of albums—1978's Patrice, 1979's Pizzazz, and 1980's Posh—that apotheosized chic grooves of the burgeoning boogie scene, while auguring dance-pop and R&B aesthetics to come.

    Her fifth overall album and second release for Elektra Records, Pizzazz, drew the line in the sand for most of her jazz following. Its dancefloor and radio-ready sheen were all they needed to scream foul and deem her a sellout. While her R&B base responded enthusiastically to her new groove, pop markets didn't aggressively focus their efforts on aligning her music to their formats. All these blows and triumphs didn't faze Rushen, though, as she arrived at the fore on her own terms. One of her best albums.

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