Those Southern Knights is a masterclass in jazz-funk fusion and a seminal studio album by the legendary American instrumental ensemble The Crusaders, released in 1976 by MCA Records under the catalog number MCAD-1649. Widely regarded as one of the finest records in their extensive discography, this release catches the veteran outfit at the absolute peak of their commercial and creative powers, dripping with the deep-fried, syncopated rhythms and infectious instrumental hooks that defined their trademark Southern-fried style. The tight-knit core group—comprising Wayne Henderson's punchy trombone, Wilton Felder's muscular tenor saxophone, Joe Sample's sparkling acoustic and electric keyboards, and Stix Hooper's unshakable pocket on drums—is augmented to legendary proportions by master guitarists Larry Carlton and Arthur Adams, alongside the brilliant bass work of Robert "Pops" Popwell. Across the compact 39-minute program, the band balances complex post-bop harmonic extensions with raw, unfiltered dancefloor funk. The tracklist kicks off with the sophisticated, winding fusion masterpiece Spiral, before sliding into the album's signature anthemic soul-jazz workout, Keep That Same Old Feeling. Other major highlights include the sprawling, late-night groove of And Then There Was The Blues, the gentle acoustic textures of Serenity, and the driving, brass-heavy grit of Feeling Funky. Meticulously captured with standard-setting analog warmth, pristine instrument placement, and incredibly punchy rhythm tracks, this recording remains an essential, mandatory holy grail for serious funk-jazz collectors, fusion aficionados, and crate diggers around the globe.

The Crusaders' 1986 studio album, The Good and Bad Times, stands as a brilliant showcase of sophisticated mid-1980s jazz-funk, contemporary R&B, and crossover fusion. Led by core founding members Wilton Felder on expressive saxophone and Joe Sample on his signature lyrical keyboards, the album masterfully bridges instrumental virtuosity with the polished, electronic-leaning production values of its era. This release is particularly notable for its stellar guest vocal appearances, featuring soul music icons Bill Withers on the poignant, hit-bound track Soul Shadows and Nancy Wilson, who delivers a deeply moving performance. Throughout the six expansive tracks, the ensemble captures a perfect balance of upbeat, rhythmic syncopation and smooth, late-night atmospheric ballads. Backed by elite session players, the compositions maintain the undeniable, gritty groove that defined the group's historic legacy while effortlessly adapting to the sleek urban adult contemporary soundscapes of the decade.

The Golden Years is a monumental, definitive 3-CD retrospective box set showcasing the stellar evolution of the legendary jazz-funk powerhouse outfit The Crusaders, released in 1992 by GRP Records. Spanning over two decades of high-caliber musicianship, this collection chronologically charts their incredible journey from their early 1960s hard bop beginnings as "The Jazz Crusaders" through to their late-seventies and eighties peak as pioneering masters of crossover jazz fusion and urban street funk. Anchored by the core genius of keyboardist Joe Sample, saxophonist Wilton Felder, and drummer Stix Hooper, the set is a masterclass in deep grooves and sophisticated horn arrangements. Listeners are treated to their essential foundational tracks, their golden era collaborations with guitar giant Larry Carlton, and massive commercial triumphs like the sprawling title track Street Life with Randy Crawford. Beautifully remastered and curated, this box set stands as the ultimate testament to the group’s enduring legacy as architects of modern instrumental soul-jazz.

Southern Comfort is an absolute monument of 1970s jazz-funk, a masterful double-album statement by the legendary outfit The Crusaders, released in 1974 on Blue Thumb/MCA Records. Deeply steeped in their signature Down Home style, the record serves as a definitive showcase for the group's unique blend of sophisticated West Coast jazz fusion and greasy, foot-stomping Texas soul. The classic powerhouse lineup—composed of keyboard maestro Joe Sample, saxophonist Wilton Felder, trombonist Wayne Henderson, and drummer Stix Hooper—is augmented to absolute perfection by the searing, blues-drenched electric guitar work of session giant Larry Carlton. The tracklist is an impeccable, high-caliber run of tight instrumental hooks, rolling seamlessly from the infectious street beat of Stomp And Buck Dance and the swampy grit of Greasy Spoon to the epic, horn-driven beauty of Lilies Of The Nile. Radiating with warm, organic grooves, driving Rhodes piano lines, and immaculate horn interactions, this classic stands out as an essential milestone of the golden era of instrumental funk.

Ghetto Blaster is an incredibly slick, high-energy, and rhythmically infectious studio album by the iconic jazz-funk outfit The Crusaders, released in 1984 on MCA Records and preserved here on an early Japanese Victor CD pressing. Moving aggressively into the mid-1880s urban landscape, core masterminds Joe Sample and Wilton Felder brilliantly fuse their signature Texas-soul-jazz roots with street-savvy synth grooves, snapping electro-funk bass lines, and heavy dancefloor production styles. To execute this vibrant sonic evolution, the duo assembled a legendary roster of session titans—featuring thunderous rhythm sections guided by bass giant Abraham Laboriel and drummer Leon "Ndugu" Chancler, vibrant percussion from Paulinho Da Costa, and an elite guitar army consisting of Cornell Dupree, David T. Walker, and Dean Parks. From the gritty, driving horns of Dead End and the celebratory pulse of Gotta Lotta Shakalada to the expansive, Afro-centric soul of Zalal'e Mini (Take It Easy), this high-caliber collection radiates with masterful instrumentation, undeniable club-friendly hooks, and pristine dynamic warmth.

“Life In The Modern World” by The Crusaders is a polished and groove-oriented jazz-funk album that reflects the group’s evolution into a more contemporary, electronically influenced sound during the late 1980s. Blending soulful melodies with synthesized textures and tight rhythmic foundations, the album captures a modern urban aesthetic while retaining the band’s signature musical sophistication. Joe Sample’s keyboard work plays a central role, supported by a strong lineup of acclaimed session musicians including Nathan East, Wilton Felder, and Michael Landau. The tracks emphasize rhythmic precision, smooth harmonic progressions, and accessible yet refined arrangements, making the album both radio-friendly and musically rich. From upbeat funk-infused numbers to more relaxed, atmospheric pieces, the record maintains a consistent balance between commercial appeal and instrumental craftsmanship. “Life In The Modern World” stands as a distinctive entry in The Crusaders’ catalog, showcasing their ability to adapt to changing musical landscapes while preserving their core identity.

When trombonist/producer Wayne Henderson, pianist/keyboardist Joe Sample, sax-man Wilton Felder, and drummer Stix Hooper changed their name from the Jazz Crusaders to the Crusaders back in 1971, it signaled a more R&B-minded direction for the group – they were always funky, but in the '70s, they became even funkier. And so, the names the Crusaders and the Jazz Crusaders came to stand for two different things – if the Jazz Crusaders were synonymous with a funky yet acoustic-oriented approach to hard bop (à la Art Blakey's Jazz Messengers), the Crusaders were about electric-oriented jazz-funk and fusion. In 1995, Henderson (who left the Crusaders in 1975) resurrected the name the Jazz Crusaders and produced Happy Again for the small, Los Angeles-based Sin-drome Records.

Although the Crusaders could not have known it at the time, their recording of "Street Life" (which features a memorable vocal by Randy Crawford) was a last hurrah for the 20-year old group. Their recordings of the next few years would decline in interest until the band gradually faded away in the '80s. However this particular set is well worth picking up for the 11-minute title cut and there is good playing by the three original members (Wilton Felder on tenor, soprano and electric bass, keyboardist Joe Sample and drummer Stix Hooper) along with guitarist Barry Finnerty; horn and string sections, plus additional guitarists are utilized on Sample's commercial but listenable arrangements.

Possessing not the greatest album sleeve in history - "Images" was nonetheless a bit of a Jazz-Funk peach. Produced by "Stix" Hooper, Wilton Felder & Joe Sample for "Crusader Productions, Inc." and mastered by long-standing expert Bernie Grundman, it followed so much of their Seventies output - really well-produced instrumental funky tracks followed by mellow ones that filled both the floor and the heart at one and the same time. Remastered from the original tapes by KEVIN REEVES at Universal Mastering in the States, it now sounds FABULOUS - really clear and defined - and virtually hiss-free. After a whole decade and umpteen albums of their particular type of funk & jazz, the same team that handled "Images" would finally hit paydirt a year later in 1979 with the global smash of "Street Life" and make Randy Crawford a star.

One of the tastiest concoctions of the mid-'70s jazz-fusion era, Chain Reaction finds the Crusaders at the top of their form. The compositions are both accessible and memorable, and the playing is uniformly excellent. Guitarist Larry Carlton delivers some of his finest licks and funkified rhythm work. Wayne Henderson shows there is a place in fusion for the trombone. Wilton Felder does double duty, delivering smoking saxophone lines and funky bass riffs. Joe Sample's Fender Rhodes piano provides a solid chordal foundation and great solos. And the stickman, Stix Hooper, keeps the groove solid. The band employs a variety of rhythms and tempos, and gives the members plenty of room to strut their individual and collective stuff. In fact, "collective" may be the key word here, for this is the sound of a band, not just a group of guys thrown together for a recording session. Chain Reaction was one of the albums that helped lure young, rock and soul-oriented listeners over to check out the jazz side, and should not be missed by those interested in the more accessible, funky side of fusion.

Recorded live at the Roxy, Scratch was one of the Crusaders' best recordings, an extravaganza of jazz and funk with great soloing from the group on top of a set of excellent grooves. From the loose-limbed funk of "Scratch" to a restless, understated version of their live standard "Eleanor Rigby" (which they'd been performing live for over six years), the Crusaders displayed a command of R&B forms in a jazz context. Another cover, Carole King's "So Far Away," is betrayed by a muddy '70s arrangement and sound, but nothing else here fails to illustrate the excellence of the best R&B group in the jazz world.

In 1971, the Jazz Crusaders reinvented themselves for the first time. First they dropped the word "jazz" from their moniker, and secondly they wholeheartedly embraced electric bass and guitars in their mix. Their new "debut" is a wonder of jazz-funk as a natural evolution out of hard bop and soul-jazz. While the wonderful horn interplay between saxophonist Wilton Felder and trombonist Wayne Henderson is still everywhere evident, the badass, beat-driven rhythm section has Joe Sample playing funky Rhodes piano against Chuck Rainey's basslines and an orgy of guitars – led by Larry Carlton's brilliant lead work. These are all anchored by Stix Hooper's never out-of-the-pocket, popping kit work. Certainly other acts had used the same instrumentation, but the sheer sophistication in the Crusaders compositions and charts combined with their dedication to grooved-out accessibility – and Stewart Levine's magnificent production – made them a singular entity even in the up-and-coming jazz-rock fusion scene.

The first album by the Jazz Crusaders (which started an extensive series for Pacific Jazz) introduced the colorful quintet. With trombonist Wayne Henderson and tenor saxophonist Wilton Felder giving the ensembles a unique sound, the group (also featuring regular members pianist Joe Sample and drummer Stix Hooper along with guests Jimmy Bond on bass and guitarist Roy Gaines) managed to strike a balance between creative hard bop and accessible soul-jazz. In addition to their version of "Theme From Exodus" (hoping to jump on the bandwagon created by Eddie Harris' hit rendition), the Jazz Crusaders perform originals by Felder, Henderson, and Sample ("Freedom Sound").