When Patrice Rushen was being lambasted by jazz snobs for making the switch from jazz instrumentalist to R&B/pop singer, she was also winning over quite a few people. R&B fans didn't care if she was no longer playing long, improvised piano solos with Joe Henderson or Hubert Laws; they loved her singing, and couldn't have cared less what jazz snobs thought of her new direction. Rushen's profile in the R&B world continued to increase with Pizzazz, her second album for Elektra and fifth overall. The song that did the most to make this LP a success was "Haven't You Heard?," a gem of a single that soared to the top of R&B radio play lists and was among Rushen's biggest hits. Many listeners bought Pizzazz because of "Haven't You Heard?," and they quickly discovered that the rest of the album was also excellent…

Prelusion is the debut album from iconic recording artist Patrice Rushen, originally released on Prestige Records in 1974. The album effortlessly zigzags between Post-Bop and Jazz Fusion, and features contributions from legendary saxophonist Joe Henderson. Reissued on vinyl for the first time in 50 years as part of Jazz Dispensary’s Top Shelf series, the album was cut from the original analog tapes by Kevin Gray, pressed on 180-gram vinyl at RTI, and packaged in a gatefold tip-on jacket. Also availavle in 24/192 hi-res.

This 1998 CD reissues keyboardist Patrice Rushen's first two recordings as a leader except for one selection ("Puttered Bopcorn") from the first date that was left out due to lack of space. Twenty at the time of the earlier set, Rushen showed a great deal of potential for the future, potential that (at least in the jazz world) was unfortunately never realized. Rushen is heard on the Prelusion album heading a septet that includes tenor-saxophonist Joe Henderson (the most memorable soloist), trumpeter Oscar Brashear, trombonist George Bohanon and Hadley Caliman on reeds; the music is essentially advanced hard bop with touches of fusion. The later date has a similar group (without Henderson) and with guest spots for flutist Hubert Laws and guitarist Lee Ritenour. The R&B-ish vocal by Josie James on "What's the Story" hints at where Rushen would be going in the future: straight to the pop market. So overall this CD, which should have served as a bright beginning for the young keyboardist, is practically the artistic high point of Patrice Rushen's erratic career.

Terri Lyne Carrington's dual identity as an extraordinary progressive jazz drummer and powerful in-the-pocket groove driver has been presented on her previous recordings. While straddling those lines appeals to different audiences, this CD reverts back to her more commercial roots from 20 years ago, centering on the contemporary, rhythm & blues oriented side of music from an instrumental standpoint.

After she mixed post-bop, soul-jazz, and jazz-funk with nimble ingenuity over three albums for the Prestige label, Patrice Rushen moved to Elektra, and with labelmates Donald Byrd, Lenny White, and Dee Dee Bridgewater extended the imprint's commercial reach while continuing to obscure the distinctions between jazz and R&B. Elektra VP Don Mizell promoted the term jazz fusion. Musician James Mtume referred to his similar approach as sophisti-funk. Whatever the category, Rushen was in the top tier. She continually moved forward as a keyboardist, vocalist, songwriter, arranger, and producer with the five LPs – Patrice and Pizzazz, which hit the Top Ten of the jazz chart, followed by Posh and the Top Ten R&B albums Straight from the Heart and Now – expanded and gathered for this boxed set.