*360-degrees all-around musician
Patrice Rushen
stands out as one of the most significant artistic gems to emerge from the streets of Los Angeles, California. Consequently, she remains an everlasting homegrown queen of majestic stature.
People who closely track her performances have noticed her appearing recently at various events such as the Leimert Park Jazz Festival, graduation ceremonies at Locke High School, a tribute concert for Brazilian percussionist Airto Moreira held at the Lodge Room in Highland Park, free summertime shows at the Baldwin Hills Crenshaw Mall, the Hollywood Bowl Jazz Festival, and she has also been spotted as an unexpected collaborator with drummer Rayford Griffin at The Baked Potato located in Studio City.
Yet, none of those performances truly highlighted the brilliance and variety of her main musical interests: traditional acoustic jazz, along with contemporary rhythm and blues encompassing intense funk, uplifting soul, and mellow quiet storm ballads.
On Friday, May 2, 2025, in downtown Los Angeles’ esteemed area,
Walt Disney Concert Hall
Patrice Rushen showcased the complete range of her artistic expression as never before to an audience captivated by each note.
At precisely 8 PM, Rushen appeared onstage dressed in a sophisticated black outfit suitable for the concert hall ambiance. After taking her seat at the piano, she initiated a lively pre-concert rehearsal with her quartet performing “Shortie’s Portion,” a piece composed by her that was featured on her first album released in 1974.
Prelusion
. It became apparent that this first set would be acoustic and feature her ‘Jazz Classics’ quartet:
Ernie Watts
on sax,
Reggie Hamilton
on bass and
Marvin “Smitty” Smith
on drums.
The team truly gained momentum with enthusiastic exploration.
Keith Jarrett
‘S “Lucky Southern,” featuring a notably skillful solo from Rushen paying homage to one of her most significant piano inspirations. Similarly, there was a lively rendition of
Thelonious Monk
Monk’s “I Mean You (Stickball),” performed with her characteristic soulfulness but without incorporating any of Monk’s signature quirks (which was quite refreshing).
Following came “Lil’ Bit,” an original piece by Rushen, capturing the capricious nature of her pet greyhound through music. This tune featured a brooding swing led by Hamilton’s steady upright bass, interspersed with soulful laments during the bridge section. Rushen expressed deep affection for her theatrically inclined friend using intricate arpeggios at the higher end of the keyboard alongside rhythmic accents reminiscent of those used by McCoy Tyner. Watts transitioned from tenor to soprano saxophone here to delve deeper into the canine character’s melancholy spirit. The album then moved onto another composition titled “L’esprit de Joie” (“The Spirit of Joy”), marked by unrestrained exuberance across varying rhythms and settings. For this track, Hamilton shifted his instrument choice from acoustic to electric bass.
Blessed sublimity arrived next with an utterly gorgeous and lush float through the great
Duke Ellington
’s “In a Sentimental Mood.” Rushen opened the song solo with an improvised meditation that led into Watts joining her on tenor for a too-short duet of burnished timeless beauty. Rushen and Watts share history dating back to session and concert work in the `70s as well as a group they co-led (with the late drum master, Ndugu Chancler) called The Meeting. Their interplay was a marvel to behold.
In generous fashion, Rushen respectfully closed the first set with a tricky Ernie Watts original entitled “Freaky Flyers,” which she said she loves because it is “so hard yet fun!” In virtuoso turns for all, Watts turned to each member for focused interplay, concluding with a mighty exchange with drummer Smith.
After a short break and set change, Rushen returned dressed in “Baby Fingers” attire—a fierce outfit dominated by black but highlighted with a vibrant yellow top. This dynamic new style indicated that Disney Hall was ready for some high-energy music. Leading an electrifying seven-piece band known as The Hits Band, Rushen launched into her instrumental funk piece, “Number One,” which had numerous devoted fans standing up. She then followed this performance with a relevant track from her third studio album.
Shout it Out
(1977) — the horn-driven jam “The Hump,” featuring the repeated line, “Gotta get over / Over the hump, y’all / Got to try!” Without pause, Rushen delivered another potent dose of funk with “Hang It Up.”
Rushen showcased her softer side with the calming and enticing “Settle For My Love,” succeeded by the vibrant tropical rhythms of “Music of the Earth.” She further captivated listeners with her soulful Quiet Storm hit, “Remind Me.” These tracks came towards the end of the performance—each demanding Rushen’s vocal leadership—and at times her voice seemed slightly taxed due to partial amplification issues in the venue mix. Nevertheless, this did little to dampen the spirits of an enthusiastic crowd who often sang along regardless.
The following introduced two strong new tracks; firstly, a complex fusion piece starring the talented ex-Jean-Luc Ponty and Stanley Clarke Band percussionist.
Rayford Griffin,
Titled ‘Arrival.’ Next came the uplifting and gospel-infused ‘A Song for a Brighter Tomorrow’—a profoundly significant composition for Rushen, penned around 2020 during the global upheaval of the COVID-19 crisis yet remains just as pertinent today amid America’s current turmoil. The track features saxophonist.
Rastine Calhoun
He poured his consecrated spirit through his alto horn into a chamber filled with hearts that resonated so painfully yet profoundly.
Rushen ended this captivating and meandering musical journey with a trio of funk hits that had everybody leaving with a spring in their step and some extra sway in their hips. She started with the frequently underrated dance floor favorite “Feels So Real,” then moved into the exuberant track “Haven’t You Heard,” before finishing up with an extended version of her hit song “Forget Me Nots.” During this last number, Baby Fingers stepped forward to showcase her skills on her vibrant red portable keyboard, known as The Keytar. As if all of this wasn’t enough, they also delighted fans with stellar work from their bassist.
“Ready” Freddie Washington
teaming up with her to perform the iconic bassline and breakdown just as he did in the original 1982 version. Such instances highlight the significant impact Rushen has had on subsequent generations of female musicians, who look up to her not just for her exceptional talent but also for her distinctive style, poise, and self-assurance.
The leftover members of Rushen’s Hits Band included the 2nd keyboardist/vocalist.
Alexis Angulo
, bassist
Andrew Ford
, guitarist
Enzo Iannell
and trumpeter
Chris Gray
.
Patrice Rushen’s grand 18-song homecoming concert at Disney Hall is the kind that soon needs to be captured for a TV special or home video. The breadth of repertoire and vibrance of performance reveal the elemental essence of a genre-bending and aptitude leaping musical superheroine.
– A. Scott Galloway /
ascottgalloway.net
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