Patrice Rushen – Pizzazz

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 . One of her best albums.