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Pizzazz

Pizzazz is the stage name of Phyllis Gabor, the fictional lead singer and rhythm guitarist of the rock band the , serving as the primary antagonist and rival to the protagonists in the animated series Jem and the Holograms (–). Created as part of a toy line, the character embodies a spoiled heiress with a volatile temper, immense wealth from her industrialist father Harvey Gabor, and an unyielding drive for fame and superiority in the music industry. Voiced by Patricia Alice Albrecht, who died in 2019, in the original series, Pizzazz is depicted as fiercely competitive, often devising schemes and rivalries against Jem (the of Jerrica Benton) and her band, the Holograms, to sabotage their success and claim the spotlight. The series, produced by , Sunbow Productions, and as a to the popular , aired for three seasons and featured 65 episodes centered on themes of music, friendship, and adventure in the glamorous world of 1980s pop culture. and the —comprising bandmates Roxy Pellegrini, Jetta and Stormer—represent the "bad girl" counterpart to the Holograms' wholesome image, with their punk-inspired style, green color scheme, and rebellious antics driving much of the conflict. Beyond the animated series, Pizzazz has appeared in various media adaptations, including IDW Publishing's series (2015–2017), where she continues as a central with deeper explorations of her backstory and insecurities, and Hasbro's line of collectible dolls that replicate her iconic outfits and accessories. In the 2015 live-action film Jem and the Holograms, singer made a as Pizzazz in a mid-credits scene, teasing the character's potential role in a sequel that was ultimately not produced. A new comic series featuring Pizzazz is scheduled for 2026 by . The character's enduring popularity stems from her bold personality, glamorous aesthetic, and representation of fierce female rivalry in entertainment, influencing later media portrayals of ambitious, flawed anti-heroines in music-themed stories.

Background and Recording

Album Conception

Patrice Rushen transitioned from to in 1978, following three jazz-oriented albums that established her as a piano prodigy in the genre. This move allowed her to pursue more commercial R&B and sounds, incorporating her vocals prominently for the first time and broadening her appeal beyond instrumental audiences. For Pizzazz, Rushen drew inspiration from contemporaries such as , aiming to integrate her jazz improvisation roots with pop accessibility and dancefloor energy. The album's conception emphasized a fusion of sophisticated urban pop, , R&B, and elements, reflecting the era's shift toward more polished, radio-friendly arrangements while retaining her improvisational flair on keyboards. Influences like 's brassy, uplifting grooves helped shape the album's uptempo tracks, blending intricate jazz harmonies with broader commercial appeal. Key collaborative decisions during the phase included enlisting and arranger Charles Mims, Jr., who contributed to the 's sturdy yet supple sound starting from Rushen's initial Elektra efforts in 1978. Mims' involvement extended into the songwriting process, helping refine Rushen's compositions to balance introspective ballads with energetic numbers. This partnership built on the groundwork from her debut Elektra Patrice, ensuring a cohesive evolution in her creative direction. Rushen's live performances throughout 1978, including improvisational jams during sets, influenced the album's song ideas by providing a testing ground for rhythmic and melodic concepts that carried into Pizzazz. These onstage explorations helped develop the album's dynamic blend of spontaneity and structured pop hooks, though specific track origins from these events remain tied to her evolving Elektra sound rather than isolated incidents.

Recording Sessions

The recording of Pizzazz took place at Conway Studios in Hollywood, California. The sessions spanned late 1978 to mid-1979, aligning with the album's release on October 23, 1979, under . Engineering was handled by Peter Chaikin, with assistance from Chris Gordon, Chip Orlando, and Phil Moores, focusing on capturing Rushen's blend of R&B, , and elements. Detailed timelines for individual track recording, such as bass and drums in early phases or vocals later, are not extensively documented in primary sources, though the production emphasized live band interplay to achieve the album's energetic sound. The track "Haven't You Heard" highlighted this chemistry, though specific session anecdotes remain scarce in credited materials. Elektra's involvement imposed scheduling pressures, with the project completed within a compressed timeframe to target a holiday season push, reflecting typical major-label constraints for releases.

Production Details

The production of Pizzazz was led by as for her own Baby Fingers Inc., alongside co-producers Reggie Andrews and Charles Mims Jr., marking a significant step in her self-directed creative control during the late R&B landscape. Recording engineer Chaikin handled the primary capture at Conway Studios in , , with assistance from Chris Gordon, Chip Orlando, and Phil Moores, ensuring a polished yet dynamic sound that blended live band energy with subtle electronic elements. Mixing emphasized organic funk grooves through the use of live , including drums, bass, and percussion from session musicians, while limiting synthesizers to accentuate rather than dominate the tracks, as seen in Rushen's own and contributions. This approach addressed production challenges in reconciling sophisticated harmonies—evident in and arrangements—with the era's demand for danceable polish, achieved through targeted revisions on key tracks like "Haven't You Heard" to maintain artistic integrity. Post-production culminated in mastering at Allen Zentz Mastering by Chris Bellman in 1979, where decisions on and imaging optimized playback across formats and radio, contributing to its enduring sonic clarity.

Music and Composition

Genre and Style

Pizzazz is classified as a and incorporating R&B, , and elements, signaling Patrice Rushen's evolution from the jazz-funk idiom of her early career toward a more commercially accessible sound. This transition built on her prior releases, such as the 1977 self-titled album , which leaned more heavily into structures, but Pizzazz amplified vocal-driven arrangements and rhythmic grooves to broaden its appeal, despite backlash from critics accusing her of abandoning the genre. The album's style is defined by upbeat, funk-driven rhythms and polished production, featuring prominent basslines and brassy horn sections that capture the exuberant essence of 1970s . These elements draw from influences like , , , and , creating a vibrant, layered sound with intricate keyboard textures from Rushen's multi-instrumental prowess. Her jazz background persists through sophisticated solos and fusion-tinged harmonies, integrated into concise pop frameworks for greater mainstream resonance, as heard in tracks like "Haven't You Heard." Compared to , Pizzazz shows an increased reliance on synthesizers and electronic keyboards for futuristic, shimmering tones that enhance its disco-inflected edge.

Track Breakdown

"Haven't You Heard" opens the album's second side as a 6:45 characterized by a driving bass line performed by Freddie Washington, complemented by Patrice Rushen's and contributions. The arrangement builds tension through layered horns, arranged by Rushen herself, which intensify toward a climactic featuring shifting rhythm patterns and her synth accents. Guitarist adds rhythmic fills, enhancing the track's energetic flow with smooth transitions into the chorus via subtle percussion builds. The song plays at 128 . "Speed of Light" follows as an up-tempo disco-funk number clocking in at 3:53, propelled by a lively groove that emphasizes call-and-response vocal dynamics backed by Rushen's layers. Lee Ritenour's prominent guitar riffs drive the arrangement, interweaving with Washington's bass to create a syncopated foundation, while the structure employs verse-chorus repetitions with fade-out transitions for an atmospheric close. The track's instrumentation highlights Rushen's acoustic accents and percussion, maintaining the album's overall tempo range of 126-152 across most songs. "Let the Music Take Me," the opening track at 6:51, features Rushen's lead vocals over a funky by Washington and arrangements, building to an extended instrumental section with keyboard solos showcasing her roots. "Settle for My Love" (5:15) blends smooth R&B vocals with rhythms, including string sections for a lush, romantic feel. The closing track, "Givin' It Up Is Givin' Up" (4:50), incorporates upbeat percussion and synths for a motivational groove.

Lyrical Themes

The lyrics on Pizzazz center on themes of , , and the transience of relationships, reflecting the emotional complexities of romance in an upbeat R&B context. Rushen co-wrote the majority of the album's tracks, bringing a personal authenticity to her words that underscores and joyful pursuit amid romantic uncertainty. For instance, "Haven't You Heard" features an empowered narrative of seeking an ideal partner via a classified ad, with optimistic refrains that affirm agency in 's search. This hands-on songwriting approach infuses the lyrics with intimate pleas for connection, as seen in the hopeful tone of "Call on Me," where vulnerability meets determination. Poetic devices such as amplify emotional intensity, particularly in choruses that reinforce motifs of urgency and desire. These elements contribute to a cohesive marked by vivid and rhythmic phrasing. The represents an evolution in Rushen's songwriting from her prior jazz-focused work, which often featured introspection without vocals, toward more accessible, narrative-driven tailored for R&B's dance-oriented audiences. This shift allowed her to craft relatable stories of emotional navigation, blending personal depth with broad appeal. The upbeat musical structures supporting these further enhance their infectious, empowering delivery.

Release and Promotion

Commercial Release

The character Pizzazz debuted as part of the Jem and the Holograms animated television series, which premiered on September 14, 1985, on first-run syndication in the United States. Produced by , Sunbow Productions, and , the series ran for three seasons, totaling 65 episodes, until 1988. Pizzazz was introduced alongside her band, the , in the pilot episode "The Truly Outrageous Day", establishing her as the primary . The show was tied to Hasbro's line, with Pizzazz figurines released concurrently, featuring her signature green outfits and accessories. International broadcasts followed in countries like the and starting in 1986. Beyond the series, Pizzazz appeared in IDW Publishing's series from 2013 to 2017, reimagining the Jem universe for modern audiences. Collectible dolls and merchandise continue to be available through Hasbro's retro lines as of 2025.

Singles and Marketing

While not directly tied to musical singles, Pizzazz's promotion centered on the Jem franchise's music-themed episodes, with original songs like "Out of the Blue's" performed by the to highlight rivalries. Marketing emphasized the band's image through TV ads, toy packaging, and records featuring voice actors' performances. The series promoted themes of competition in the music industry, with Pizzazz's schemes driving storylines. Voice actor Patricia Alice Albrecht promoted the in interviews and conventions. In , Kesha's as Pizzazz in the live-action film Jem and the Holograms generated buzz, though no sequel materialized. Hasbro's campaigns targeted , using commercials on networks like and , and partnerships with music magazines to showcase the glamorous aesthetic.

Packaging and Artwork

Merchandise packaging for Pizzazz dolls featured vibrant, comic-style artwork depicting her with green hair and edgy outfits, designed to contrast the Holograms' pink theme. Album covers for Jem soundtrack LPs, such as Jem and the Holograms: The Movie Soundtrack (1986), included illustrations of the Misfits by artist John K. Burns. International toy releases adapted packaging with localized languages, while comic covers by IDW artists like Sophie Campbell emphasized Pizzazz's dynamic personality. Reissues of dolls in the 2010s preserved original designs with updated safety standards.

Reception and Impact

Critical Reviews

Upon its 1979 release, Pizzazz received mixed responses from critics, with praise for its polished production and accessibility in R&B and pop circles contrasted by criticism from jazz purists who viewed Rushen's shift toward funk and disco as a dilution of her jazz roots. Jazz-oriented outlets like Down Beat expressed reservations about the album's commercial leanings, though specific contemporaneous reviews in mainstream publications such as Billboard highlighted its sleek production values and Rushen's growing versatility as a multi-instrumentalist and songwriter. In retrospective assessments, Pizzazz has been lauded as a classic that solidified Rushen's transition to broader audiences. AllMusic's Alex Henderson, in a review from the early , gave it 4 out of 5 stars, describing it as one of Rushen's "most rewarding and essential s" from an R&B/pop perspective, emphasizing her skillful blend of sophisticated arrangements and vibrant energy despite backlash from traditionalists. More recent reevaluations, such as Pitchfork's 2019 coverage of Rushen's Elektra-era Remind Me, tracks from Pizzazz like "Haven't You Heard" as exemplary disco- hybrids, praising the album's percolating basslines and slinky riffs for their enduring influence on R&B production styles. Overall, later critics have celebrated Rushen's multi-instrumental prowess—particularly her and work—as a key strength, with the album's lively grooves often cited for capturing the era's fusion of sophistication and pop accessibility.

Commercial Performance

Pizzazz achieved moderate commercial success in the United States upon its release. The album peaked at number 39 on the chart in March 1980, spending a total of 16 weeks on the chart. It performed stronger on the R&B charts, reaching a peak position of number 11 on the Top Soul LPs chart and charting for 23 weeks. It also peaked at number 2 on the Top Jazz Albums chart. The lead single "Haven't You Heard" contributed to the album's visibility, charting at number 42 on the and number 7 on the chart in 1980. This track received significant airplay on R&B radio, helping to drive album sales despite the broader market's shift away from -influenced sounds toward the early 1980s. Internationally, Pizzazz saw limited chart impact. It was released in through Elektra Japan but did not achieve notable sales or chart positions there. In the , the album failed to enter the main albums chart, though the single "Haven't You Heard" reached number 62 on the . Overall, the album's performance was bolstered by television exposure on programs like , amid a competitive landscape saturated with fading acts.

Cultural Legacy

Reissues have further amplified the album's reach. In 2022, Strut Records released an expanded remastered edition on and formats, including 12-inch of singles like "Haven't You Heard" and "Settle for My Love," restoring the original artwork and enhancing audio quality for modern listeners. Since the , Pizzazz has been widely available on streaming platforms such as , where its monthly listeners exceed hundreds of thousands, facilitating renewed plays and algorithmic discovery among younger audiences. The album's cultural nods extend to live performance. In the 2020s, Rushen has actively performed Pizzazz tracks, including "Settle for My Love," during tours and festival appearances, such as her 2024 shows at in and the Festival, keeping the material vibrant in contemporary jazz and R&B contexts. Broader influence of Pizzazz lies in its role bridging with emerging R&B subgenres, exemplified by its fusion of intricate arrangements and danceable grooves that prefigured new jack swing's rhythmic innovations in the late . Rushen herself has been acknowledged by major artists; she served as musical director for Janet Jackson's 1993–1995 janet. tour, where elements of her Elektra-era style informed Jackson's rhythmic and keyboard-driven sound.

Credits and Personnel

Musicians and Contributors

anchored Pizzazz as the lead vocalist, keyboardist, and pianist across all tracks, delivering , acoustic , , synthesizers, and percussion while also arranging horns, strings, and vocals. A prodigy who began performing publicly at age three and released her debut Prelusion at age 19 in 1974, Rushen had already gained prominence through 1970s sessions with , contributing keyboards to his albums Mellow Madness (1975) and I Heard That!! (1976). Additional musicians included guitarists Paul Jackson Jr., Melvin "Wah Wah" Ragin, Wali Ali, , and Marlo Henderson; drummers Leon "Ndugu" Chancler, , , and Melvin Webb; and percussionists Ollie E. Brown and Gerald Brown. Background vocals enriched the album's harmonies, with Lynn providing support on tracks including "Let the Music Take Me," "Settle for My Love," "Message in the Music," "Haven't You Heard," "Givin' It Up Is Givin' Up," and "Call on Me." Davis, a seasoned vocalist, added layered depth to R&B sessions. Additional background vocalists such as (on "Let the Music Take Me," "Message in the Music," "Haven't You Heard," and "Call on Me"), Roy Galloway (on "Let the Music Take Me," "Settle for My Love," "Givin' It Up Is Givin' Up," and "Call on Me"), Jim Gilstrap (on "Message in the Music" and "Givin' It Up Is Givin' Up"), Pauline Wilson (on "Keepin' Faith in Love"), and (on "Keepin' Faith in Love") contributed, drawing from their experiences in soul and R&B sessions. provided lead vocals on "Givin' It Up Is Givin' Up." Key instrumentalists included bassist "Ready" Freddie Washington, who handled bass and acoustic guitar on "Settle for My Love," and bass, drums, and percussion on "Givin' It Up Is Givin' Up"; a prolific session player, Washington collaborated with numerous artists in funk and R&B. Drummer drove the rhythm on "Keepin' Faith in Love," infusing his signature groove honed through decades of work with Bill Withers on albums like (1972) and . Percussionist Bill Summers enhanced the same track with congas and other elements, bringing his expertise from Hancock's band on the seminal 1973 album . The horn section featured notable guest spots, including trumpeter on and , contributing to the album's vibrant, live-band energy on tracks with brass accents; Brashear, a veteran, had performed with ensembles like the and ' band in the 1970s. Other horns included reeds from Gerald Albright, , , and Kim Hutchcroft; trombone by Maurice Spears and Bill Reichenbach; from Raymond Lee Brown, , and Gary Grant; and from , underscoring Rushen's of with R&B polish. Strings were arranged by Rushen, with concertmasters Jerry Vinci and Charles Veal.

Production and Technical Staff

The production of Patrice Rushen's 1979 album Pizzazz was overseen by co-producers Patrice Rushen, Charles Mims Jr., and Reggie Andrews, who managed arrangements, vocal and instrumental oversight, and final approvals for the tracks. Rushen served as executive producer through her Baby Fingers Inc. entity, drawing on her established collaboration with Mims from her previous self-titled album Patrice (1978), where they similarly shaped the jazz-funk sound. Andrews, a longtime mentor, contributed to the cohesive blend of soul, funk, and jazz elements across the record. Recording took place primarily at Conway Studios in , , with additional sessions at Total Experience Recording Studios and Westlake Audio; primary engineers included Peter Chaikin, F. Byron Clark, , and , with assistant engineers Chip Orlando, Chris Gordon, and Phil Moores ("Audio" Phil Moores) handling technical support, including tape operations during overdubs and session coordination for scheduling musicians and equipment. These roles ensured smooth workflow amid the album's layered and sections. The engineering team focused on capturing the album's energetic grooves, such as those in "Let the Music Take Me," without additional mixing assistants noted. Mastering was performed by Chris Bellman at Allen Zentz Mastering, giving Pizzazz its polished, dynamic finish suitable for vinyl release on . Art direction was led by Ron Coro, who coordinated the visual elements, including front cover photography by and back cover shots by Moshe Brakha, to complement the album's vibrant theme. For single releases, remix versions like the 12-inch extended mix of "Haven't You Heard" were produced by the core team of Rushen, Mims, and Andrews, with no distinct remix engineers credited; these adaptations emphasized dancefloor extensions while preserving the original's technical integrity. Studio coordinators, integral to session logistics, facilitated the project's timeline but remain unindividually named in credits, highlighting the collaborative backend effort behind the album's release. Note: This section pertains to Patrice Rushen's 1979 album Pizzazz. For the unrelated fictional character Pizzazz from Jem and the Holograms, see appropriate media credits (e.g., by Patricia Alice Albrecht).

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    ### Production and Technical Staff Credits for "Pizzazz" by Patrice Rushen
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    https://www.discogs.com/release/3814209-Patrice-Rushen-Pizzazz
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    https://www.discogs.com/master/136476-Patrice-Rushen-Havent-You-Heard