1978 Patrice Rushen “Patrice” on Elektra

If it were anyone else, I would would still dig this one, because it has a groove so sweet it’s like swigging straight from a bottle of Canadian Maple, but somehow, four releases in, Patrice is no longer about the jazz or funk or soul or even proto-disco, let alone the mix of all of them she flashed previously. No, while this one is Slick As Hell, it definitely has an edge of Management Dictated candy-radio R&B that is produced within an inch of its life. Which isn’t to say it doesn’t sound good, the production is actually amazing. It’s more the “sell units” vibe of the songs themselves, great on one hand, but also too slick by half. The truly MASSIVE lineup here includes full strings and is banging with talent and impeccable playing, but does it really need 9 (nine) viola players? How about twenty (20) violins? Even wilder (this is all true) a full ten (10) session names are credited with handclaps/fingersnaps, plus six (6) cellos and a Concert Master!

Bay Area legend Ready Freddie Washington (East Bay Rhythm, which Paul “Black Octopus” Jackson was also in) who was also plucking electric bass for Herbie at 19 yrs old is fantastic, but the A&R cuffs are kept on throughout. Marcus Spears (check him out on Oliver Nelson’s “Skull Snaps” or Big Black’s “Elements Of Now”) is a tight trombone, and Marlo Henderson from Maxayn/Mandre slings some hot guitar, but I kind of want to cut this open with a Hattori Hanzo, pour in a gallon of bacon grease, a way heavier dose of Rhodes, synths, and clavinet, and a big middle finger to commerciality, and then sew it back together again. Still, it’s Patrice, and that’s enough, you can dance to this badboy, you can park at the drive-in and get heavy on a second date, you can get the club moving, or while away traffic for miles nodding your head, but you can’t say it’s raw, and that’s exactly what I want it to be.