Rushen to ‘Stretch Out’ at Brasserie

Just because keyboardist Patrice Rushen’s appearances on the L.A. club circuit have become infrequent at best, don’t think she’s given up her jazz career.

“I love to play, I have to play,” says the 39-year-old Los Angeles native. “So even if I’m playing less in the clubs, I get together with musicians and play. I make time because it’s fun and I want to stay sharp so that if someone calls, I’m ready.”

Like last month, when Rushen took part in an American Foundation for AIDS Research (AMFAR) fund-raiser at the Playboy mansion in Holmby Hills. Rushen performed with such notables as Herbie Hancock, Wayne Shorter and Larry Carlton. “I had a really nice time, playing tunes like ‘I Loves You, Porgy,’ ” Rushen says.

Tonight and Saturday, Rushen is appearing with drummer Gerry Gibbs’ quartet at the Club Brasserie in West Hollywood. It’s her first performance in a strictly modern mainstream groove--her avowed style when she broke onto the jazz scene--in ages. “I’ll really get a chance to stretch out, which always is fun,” she says. “We rehearsed Gerry’s tunes the other night. His music is very interesting. He really likes to play fast, so it’s, ‘Oh, OK, hold on!’ ” she chuckles.

In recent years, Rushen has been active mostly as a composer and arranger for TV and film projects such as Robert Townsend’s “Hollywood Shuffle,” “The People’s Choice Awards,” and the “NAACP Image Awards.” She also produced pop singer Sheena Easton’s 1993 album, “No Strings,” for MCA Records. The album features guitarist Phil Upchurch, saxman Bob Sheppard and drummer Ndugu Chancler behind Easton’s versions of such songs as “The Nearness of You,” “Body and Soul” and “How Deep Is the Ocean.”

Rushen, who appears with longtime colleague Chancler in the group One + 1, is planning on doing more live playing, including a stand at the Vine Street Bar and Grill. “The scene seems to be opening up, and that’s inspirational,” she says.

New Policy at Vine Street: Mayuto Correa, the innovative Brazilian percussionist who has played with everyone from Freddie Hubbard to Hugh Masekela, is now booking the acts at the Vine Street Bar and Grill, where the jazz policy has been intermittent in past months.

“I’m going berserk, doing the booking, the promoting, but it feels good,” says Correa, 50. “This is my way of helping, of giving something back” to music.

Correa, who appeared Wednesday and Thursday at Vine Street with an all-star band that included drummer Chancler and saxophonist Ernie Watts, plans to feature a variety of jazz styles from straight ahead and contemporary to Brazilian and Latin flavored. Correa says he intends to bring in such top names as saxophonists Ronnie Laws and Gerald Albright and Rushen in March and April, though specific dates have not yet been set.

The new schedule at Vine Street gets underway next week. Every Tuesday, Correa, pianist Greg Kurstin and saxman Louis Taylor host a jam session. Each Wednesday and Thursday, Third Millienium, featuring saxmen Phil Farris and Tracy Wannomae, is on tap.

Here’s the weekend lineup: tonight, Saturday, and Feb. 4-5, pianist singer Hadda Brooks;Feb. 11-12, Correa, Watts, Chancler, singer Dwight Tribble, trombonist Thurman Green and guitarist Bradley Bobo; Feb. 18-19, Green’s quartet, and Feb. 25-26, Latin jazz with Rudy Regalado and Chevere.

Information: (213) 463-4375.

Critic’s Choices: The Lincoln Center Jazz Orchestra, scheduled to appear Feb. 4 at UCLA’s Royce Hall, will now perform Thursday at the Wadsworth Theatre. Earthquake damage to Royce Hall, which will be closed for approximately 6 months, forced the change in schedule. The band sports such top players as saxman Joshua Redman, trumpeter Ryan Kisor and pianist Marcus Roberts and offers renditions of the music of, among others, Jelly Roll Morton, John Coltrane and Duke Ellington.

Versatile, crafty pianist Bill Cunliffe leads a fine trio Sunday at the Jazz Bakery. Armed with drummer Joe LaBarbera and bassist Dave Carpenter, Cunliffe debuts selections from his soon-to-be-released “A Rare Connection” album.