The Crusaders -

The Crusaders were an American jazz-funk band from Los Angeles that was known throughout its first decade as The Jazz Crusaders, which issued a string of post-bop albums on Pacific Jazz during the 1960s. In 1971, they shortened their name to The Crusaders and issued a string of jazz-funk/R&B albums on Blue Thumb. They scored a hit in 1979 with “Street Life,” featuring guest vocalist Randy Crawford.

Members: Joe Sample (piano), Wilton Felder (bass, saxophone), Stix Hooper (drums, 1971-83), Wayne Henderson (trombone, 1971-75), Larry Carlton (guitar, 1971-76), Leon “Ndugu” Chancler (drums, 1984), Sonny Emory (drums, 1986)

Background

The Crusaders had their roots in a post-bop band called The Swingsters, formed in 1954 Houston, Tex., by three teenage schoolmates: pianist Joe Sample (1939–2014), tenor saxophonist Wilton Felder (1940–2015), and drummer Nesbert “Stix” Hooper (b. 1938).

During the late 1950s, they gigged as the Modern Jazz Quartet (not to be confused with the Dizzy Gillespie/Sonny Stitt formation on Norgran). For extra cash, they cut two R&B singles as the Night Hawks: “Chicken Grabber” b/w “Big Top” (Del-Fi Records, 1959) and “Bunny Ride” (b/w “Sweetie Lester”), the latter undated on Pacific Records.

In 1960, the lineup of Sample, Felder, Hooper, and trombonist Wayne Henderson settled in Los Angeles, where they rebranded themselves the Jazz Crusaders. Between 1961 and 1969, they released 15 albums on the Pacific Jazz label. They issued two albums in 1970: Give Peace a Chance (Liberty) and Old Socks, New Shoes…New Socks, Old Shoes, their first of two releases on Hugh Masekela‘s Chisa label. Their new music appropriated soul-jazz elements and compositions by The Beatles and Sly & the Family Stone.

In a move to expand their audience, they dropped “Jazz” from their name for the 1971 Chisa release Pass the Plate. After the 1972 album Hollywood on Motown-subsidiary MoWest, The Crusaders began a nine-album run on Blue Thumb Records.

Pass the Plate

In May 1971, the Crusaders released Pass the Plate, their fourteenth overall studio album and the first under their abbreviated name.

The album blends jazz improvisation with funk and soul rhythms, opening with a 15-minute multi-part suite and moving through shorter compositions that highlight the group’s post-bop roots filtered through contemporary R&B and blues influences.

Wayne Henderson and Joe Sample wrote the majority of the material, with Sample composing the latter half of the album, while the medley on the title track incorporates contributions from outside sources through arranged vocal interludes and rhythmic additions. Guitarist Arthur Adams performs throughout, supporting both the horn lines and Sample’s Fender Rhodes passages.

The first side features the title suite “Pass the Plate: Tap N’ Shuffle/Sing for Your Keep/Beggin’/Haggin’ Stomp,” which integrates gospel, blues, and soul into jazz structures, with uncredited male and female choruses and tapping by Philemon Hou adding theatrical texture. The reprise of “Young Rabbits–’71–’72” closes the side with a brief drum break from Stix Hooper. The second side emphasizes Sample’s compositions: “Listen and You’ll See” weaves theme, interlude, bridge, and improvisation into a cohesive whole; “Greasy Spoon” pairs a shuffling bluesy frontline with crisp horn and guitar lines; “Treat Me Like Ya Treat Yaself” layers wah-wah guitar, horn punctuations, and Felder’s raspy sax solo; “Goin’ Down South” evokes blaxploitation soundtrack sensibilities; and “Love Can’t Grow Where the Rain Won’t Fall” closes the album on a midtempo, gospel-tinged note.

A1. “Pass the Plate: Tap N’ Shuffle/Sing for Your Keep/Beggin’/Haggin’ Stomp” (15:42)
A2. “Young Rabbits–’71–’72” (4:54) updated take on the group’s earlier hit, with a brief, tough drum break.

B1. “Listen and You’ll See” (5:29) develops with lean, choppy keyboard breaks, while horns provide an elegant and graceful counterpoint.
B2. “Greasy Spoon” (4:06)
B3. “Treat Me Like Ya Treat Yaself” (2:34)
B4. “Goin’ Down South” (5:23)
B5. “Love Can’t Grow Where the Rain Won’t Fall” (4:05)

Sessions occurred at Wally Heider Studio 3 in Los Angeles with the Crusaders producing and engineers handling recording and mixing duties.

The album reached No. 12 on the US Billboard Top Jazz LPs chart and No. 96 on the Billboard Top LPs chart.

Crusaders 1

The Crusaders released their second album, the two-record Crusaders 1, in February 1972 on Blue Thumb Records. This was their first of seven consecutive studio albums with guitarist Larry Carlton.

The album expands their jazz-funk vocabulary with electric bass and multiple guitars, introducing Larry Carlton as lead guitarist. Horn interplay between Wilton Felder and Wayne Henderson remains central, while Joe Sample’s Fender Rhodes drives rhythm and texture across a set that balances post-bop sophistication with accessible, beat-driven arrangements.

Joe Sample, Wayne Henderson, and Wilton Felder wrote the bulk of the material. Carole King is credited for the arrangement of “So Far Away.” Guitarists Arthur Adams and David T. Walker contribute throughout, with Carlton supplying lead lines, integrating seamlessly with Felder’s bass and Hooper’s drums. Sample and Felder frequently co-write passages that intertwine with Henderson’s compositions.

Crusaders 1 opens with Felder’s “That’s How I Feel,” a riff-driven statement featuring all three guitarists and a tight rhythm section. King’s “So Far Away” stretches nearly 12 minutes, layering harmonic elegance with improvisational interplay from horns, Rhodes, and guitars. Henderson’s “Mystique Blues” and “Mud Hole” showcase nocturnal harmonics, shimmering wah-wah, and punched-up horn lines, while Sample’s “Put It Where You Want It” and “Georgia Cottonfield” combine structured patterns with flexible rhythmic pacing. The set also includes Henderson’s “Full Moon” and “It’s Just Gotta Be That Way,” and Felder’s “Three Children,” demonstrating the band’s blend of streetwise energy and compositional depth.

A1. “That’s How I Feel” (8:20) driving, up-tempo rhythm is propelled by three overdriven guitars, with horns and keyboards adding layers of texture. Felder drives a riff-centered theme with sax and bass in tandem, while layered guitars push sharp accents against Sample’s Rhodes pulse.
A2. “So Far Away” (11:50) unfolds with a patient, leisurely tempo, with the horns and keyboards creating a lover’s dance. The band stretches Carole King’s ballad into extended arcs, horns and guitar trading lyrical phrases across a restrained rhythmic frame.

B1. “Put It Where You Want It” (5:30) driven by a tough, strutting rhythm, with a full instrumental arrangement anchored by the bass. Sample establishes a clipped Rhodes figure, with horns and rhythm section reinforcing its steady propulsion through terse exchanges.
B2. “Mystique Blues” (4:44) nocturnal atmosphere is created by the shimmering wah-wah guitar, with horns punching up the rhythm. Henderson sets a hushed trombone line over slow-burning rhythm, with guitar and keys weaving in shifting textures.
B3. “Full Moon” (7:20) develops with a cool, relaxed rhythm, with horns and electric piano intertwining. Horns carry a broad unison theme, fractured by sharp guitar interjections and percussion breaks that expand the pace.

C1. “Sweet Revival” (4:50) spiritual, reflective rhythm supports the horns and keyboards, creating a contemplative atmosphere. Sample lays down rising keyboard patterns that the horns echo in crisp replies, building into a compact ensemble statement.
C2. “Mud Hole” (6:30) hard, exploding rhythm drives this track, with the bass and drums providing a central foundation. Henderson’s trombone leads with blunt phrases, joined by biting guitar riffs and an insistent drum-and-bass undercurrent.
C3. “It’s Just Gotta Be That Way” (3:40) laidback bluesy number with faint, glowing Fender Rhodes amid nightime ambience. The rhythm section drives a taut frame, giving Henderson’s trombone and Carlton’s guitar space to alternate clipped statements.
C4. “Georgia Cottonfield” (7:02) pounding section of wah-wah chords and trumpet cuts to a jittery, Latinized pattern with huperactive piano. Sample crafts rolling lines beneath horn and guitar exchanges, the ensemble leaning into a steady, midtempo climb.

D1. “A Shade of Blues” (5:20) develops a somber, reflective tempo with a layered, full arrangement. Sample anchors the piece with piano figures shaded in minor turns, while horns unfold in slow, deliberate phrases.
D2. “Three Children” (5:15) churning rhythm with light guitar and crystaline piano across a wah-wah bedrock. Felder shapes the theme with long saxophone arcs, supported by understated guitar and spacious rhythm.
D3. “Mosadi (Woman)” (7:15) builds a quiet, introspective atmosphere with cocktail twang. Henderson’s trombone leads in call-and-response with the horns, propelled by Carlton’s stinging guitar and Hooper’s forward-driving percussion.

Sessions occurred at Wally Heider Studios in Los Angeles with Stewart Levine producing and Rik Pekkonen engineering.

The album features a gatefold cover designed and photographed by Ron Raffaelli.

The set solidified the Crusaders’ jazz-funk identity and demonstrated their expanded sound with dual guitars, Rhodes piano, and a fully electric rhythm section.

Hollywood

In September 1972, MoWest issued Hollywood, a Crusaders album recorded between Pass the Plate and Crusaders 1, before Carlton’s tenure.

The album emphasizes compact jazz-funk arrangements with layered electric bass, guitars, and Rhodes piano, maintaining the Crusaders’ signature horn interplay while experimenting with short, focused compositions.

Joe Sample, Wayne Henderson, Wilton Felder, and Stix Hooper wrote the material, with Sample and Felder composing the majority and Henderson contributing several tracks. Phil Spector is credited as the composer for the cover “Spanish Harlem.” Guitarists Arthur Adams and David T. Walker provide accompaniment throughout, while Reggie Johnson supplements acoustic bass lines.

The opening cover “Spanish Harlem” sets a lush, rhythmic tone. Henderson’s compositions—“Hollywood,” “Do Yourself a Favor,” and “Alekesam”—blend short thematic statements with horn punctuations. Sample’s “Try a Little Harder” and “Cold Duck Eddie” feature extended keyboard passages over tight rhythm sections. Felder’s “Way Back Home” sustains a repeating motif for four minutes, while Hooper’s “Papa Hooper’s Barrelhouse Groove” provides a concise percussive interlude. Overall, the set favors compact, groove-centered tracks over extended improvisation, with rhythmic cohesion anchoring melodic flourishes.

A1. “Spanish Harlem” (7:02)
A2. “Try a Little Harder” (5:50)
A3. “Hollywood” (3:40)
A4. “Do Yourself a Favor” (4:29)

B1. “Cold Duck Eddie” (7:35)
B2. “Way Back Home” (4:07)
B3. “Papa Hooper’s Barrelhouse Groove” (2:37)
B4. “Alekesam” (5:20)

Sessions occurred at MoWest studios with Stewart Levine producing.

The album presents solid jazz-funk with disciplined, compact arrangements, combining streetwise energy and polished musicianship without venturing into the longer-form explorations found on previous or subsequent Crusaders albums.

The 2nd Crusade

The Crusaders released their fourth album, The 2nd Crusade, in February 1973 on Blue Thumb Records.

The album expands their jazz-funk palette with shorter, groove-centered compositions while retaining crisp horn charts and layered keyboard textures. Joe Sample explores Fender Rhodes and subtle synthesizer, Stix Hooper drives rhythm with intricate soul-jazz percussion, and Wilton Felder delivers a more rhythmic, upfront electric bass approach.

Joe Sample, Wayne Henderson, Wilton Felder, and Stix Hooper wrote the material, with Sample composing the opening track and two of the longest pieces, Henderson contributing multiple compositions, Felder adding three, and Hooper composing two tracks, including a collaboration with Sample and Henderson on “Tough Talk.” Guitarists Larry Carlton, Arthur Adams, and David T. Walker perform throughout, with Sample on keyboards, Felder on tenor saxophone and bass, Henderson on trombone, and Hooper on drums and percussion.

The album opens with Sample’s “Don’t Let It Get You Down,” a hothouse piece with handclaps and steady rhythm. Henderson’s “Take It or Leave It” employs a minor-to-major key shift with a direct, striated approach. Felder’s “Look Beyond the Hill” evokes a lightly dub-inflected texture, while Hooper’s “Journey From Within” introduces Eastern-style pattern with Carlton’s guitar woven around piano and bass. The mid-album tracks, Sample’s “A Message from the Inner City” and “A Search for Soul,” explore dynamic tension over lean, angular backbeats. The remaining tunes mix brisk funk passages with horn interplay, sustaining rhythmic cohesion across the set.

A1. “Don’t Let It Get You Down” (3:00) Sample drives a steady Rhodes line under handclaps and brass bursts, locking the ensemble into communal propulsion.
A2. “Take It or Leave It” (3:40) Henderson’s trombone carries a striding theme, shifting between clipped brass accents and rolling rhythm patterns.
A3. “Gotta Get It On” (2:50) Hooper sets a compact, percussive frame where guitar figures dart between insistent drum breaks and horn replies.
A4. “Where There’s a Will There’s a Way” (5:30) Henderson stretches the trombone theme across layered horn voicings, while Carlton threads agile guitar runs through Sample’s Rhodes textures.
A5. “Look Beyond the Hill” (3:20) Felder anchors the bassline as guitar and keys sketch ascending phrases, giving the horns space to crest and recede.

B1. “Journey From Within” (4:51) Hooper’s modal rhythm underpins guitar strikes and piano clusters, gradually opening into freer horn improvisations.
B2. “Ain’t Gon’ Change a Thang” (4:30) Felder builds a bass-driven pulse, exchanging with brass riffs that cut sharply against steady percussion.
B3. “A Message From the Inner City” (8:50) Sample unfolds gradual piano motifs over spare rhythmic support, the horns layering in restrained arcs before expanding the texture.

C1. “A Search for Soul” (9:40) Sample’s keys press against staggered rhythmic shifts, the ensemble weaving in and out of tension before settling into fluid release.
C2. “No Place to Hide” (8:44) Henderson leads with extended trombone lines, answered by guitar and Rhodes figures over a steady, midtempo foundation.

D1. “Tomorrow Where Are You?” (5:10) Felder shapes the bass into lyrical phrases while the horns drift in long tones, anchored by Hooper’s measured pacing.
D2. “Tough Talk” (6:00) The full group trades tight statements, horns punctuating against Carlton’s guitar accents and Sample’s Rhodes patterns in call-and-response.
D3. “Do You Remember When??” (6:00) Sample closes with a reflective piano line that folds into warm ensemble interplay, tapering the double album with collective understatement.

Sessions occurred at Wally Heider Studios in Los Angeles with Stewart Levine producing and Rik Pekkonen engineering.

The album presents dense, tightly arranged jazz-funk with layered guitars, horns, and keyboards, balancing urban rhythmic drive and fluid improvisation without straying from a danceable, beat-forward approach.

Unsung Heroes

The Crusaders released their fifth album, Unsung Heroes, in November 1973 on Blue Thumb Records.

The album leans on concise, rhythm-driven arrangements while maintaining the band’s trademark horn interplay and layered keyboards. Joe Sample and Wayne Henderson expand their compositional reach, Stix Hooper anchors the percussion with precision, and Wilton Felder provides melodic and rhythmic bass and tenor saxophone lines.

Stix Hooper, Joe Sample, and Wayne Henderson wrote the bulk of the material, with David “Fat-Head” Newman contributing “Hard Times.” Guitarist Larry Carlton performs throughout, joined by Arthur Adams on additional guitar, Sample on keyboards, Felder on tenor saxophone and bass, Henderson on trombone, and Hooper on drums.

The set alternates between brisk, danceable pieces and more reflective passages. Sample’s compositions—including “Crossfire,” “Freedom Sound,” and “Now I Lay Me Down to Sleep”—balance concise harmonic frameworks with solo exploration. Henderson’s “Unsung Heroes,” “Let’s Boogie,” and “In the Middle of the River” combine driving rhythms with sharp horn charts. Newman’s “Hard Times” reinterprets a 1960 original, giving a soulful tenor spotlight, while Felder’s solos enrich the mid-tempo tracks.

A1. “Unsung Heroes” (3:13)
A2. “Lay It on the Line” (3:32)
A3. “Crossfire” (7:23)
A4. “Hard Times” (4:37)
A5. “Let’s Boogie” (4:30)
A6. “Freedom Sound” (1:40)

B1. “In the Middle of the River” (5:15)
B2. “Heavy Up (Don’t Get Light With Me)” (3:13)
B3. “Night Theme” (7:17)
B4. “Now I Lay Me Down to Sleep” (4:30)

Sessions occurred at Wally Heider Recording Studio 3 in Los Angeles in August 1973 with Stewart Levine producing and Rik Pekkonen engineering. Arnie Acosta mastered the album at The Mastering Lab.

The album presents tight, polished jazz-funk arrangements with pronounced solos from Carlton, Felder, Henderson, and Sample, blending rhythm-forward tracks and brief, lyrical interludes without straying from the Crusaders’ established sonic identity.

Southern Comfort

The Crusaders released their sixth album, Southern Comfort, in October 1974 on Blue Thumb Records.

The album blends the band’s signature horn-driven jazz-funk with refined arrangements and lyrical guitar work, balancing rhythmic propulsion with contemplative ballads. Carlton’s presence reshapes the ensemble’s chemistry, highlighting solos and bridges while the group maintains tight interplay between keyboards, horns, and percussion.

Wayne Henderson, Joe Sample, Stix Hooper, and Wilton Felder wrote most of the material, with Carlton contributing “The Well’s Gone Dry.” The lineup features Henderson on trombone, Felder on bass and saxophone, Sample on keyboards, Hooper on drums, and Carlton on guitar.

The album alternates earthy, rhythm-focused pieces with reflective tracks. “Stomp and Buck Dance” opens with a lively, offhanded swing, while “The Well’s Gone Dry” showcases edgy interplay with Carlton’s bridge work. “When There’s Love Around” emphasizes longing through Carlton’s guitar and Sample’s Fender Rhodes. The closing tracks—“Lilies of the Nile” and “A Ballad for Joe (Louis)”—offer sensitive horn lines and introspective, melodic textures, rounding out a multi-faceted, mature set.

A1. “Stomp and Buck Dance” (5:51) Henderson’s trombone cuts short, emphatic phrases against Felder’s bass pulse, while Carlton’s guitar threads syncopated accents through Sample’s Rhodes patterns.
A2. “Greasy Spoon” (3:14) Hooper drives a clipped rhythm, opening space for terse horn statements and tightly coiled guitar lines.
A3. “Get on the Soul Ship (It’s Sailing)” (3:22) Sample launches the theme with rising Rhodes figures, joined by brass and percussion in steady propulsion.
A4. “Super Stuff” (2:42) Henderson leads with a compact trombone riff, answered by sharp ensemble responses in quick succession.

B1. “Double Bubble” (2:44) Sample layers playful keyboard phrases over brisk percussion, the horns entering with punctuated calls.
B2. “The Well’s Gone Dry” (4:46) Carlton’s guitar takes a central role, alternating contoured phrases with the horns over Hooper’s insistent backbeat.
B3. “Southern Comfort” (2:07) Henderson sets a brisk, celebratory theme, with the rhythm section locking into concise forward motion.
B4. “Time Bomb” (6:40) Sample drives angular piano lines through shifting dynamics, as horns and guitar surge into explosive unison passages.

C1. “When There’s Love Around” (5:28) Carlton stretches lyrical guitar lines over Sample’s Rhodes textures, the horns shading the theme in long, restrained arcs.
C2. “Lilies of the Nile” (9:35) Felder’s saxophone and Henderson’s trombone share the lead in expansive, searching phrases that rise over modal keyboard foundations.

D1. “Whispering Pines” (9:00) Horns open in sustained tones before yielding to spacious interplay between Rhodes and guitar, paced with measured intensity.
D2. “A Ballad for Joe (Louis)” (7:29) Sample’s piano traces elegiac contours, joined by subtle brass harmonies that evoke a reflective closing meditation.

Sessions occurred at Wally Heider Recording Studio in Los Angeles with Stewart Levine producing and Rik Pekkonen engineering. The set represents a polished, expressive Crusaders ensemble, with each player contributing solos and textures that highlight both rhythmic drive and lyrical sophistication.

“Stomp and Buck Dance” was issued as a single in 1975, reaching US R&B No. 41 and US Dance No. 12.

Scratch

In 1974, Blue Thumb issued Scratch, a live album sourced from a recent Crusaders show at The Roxy in Los Angeles.

The album presents a live blend of jazz and funk with extended improvisation. The ensemble emphasizes dynamic solos over rhythmic foundations while interpreting both original compositions and contemporary pop covers.

Wayne Henderson, Wilton Felder, Joe Sample, Stix Hooper, and Larry Carlton composed the original material. The set includes covers of The Beatles (“Eleanor Rigby”), Carole King (“So Far Away”), and P. F. Mitchell (“Hard Times”). Henderson plays trombone, Felder handles tenor saxophone, bass, and composition, Sample performs keyboards, Hooper is on drums, and Carlton plays guitar.

The music ranges from tight, rhythmic funk to expansive ballad interpretations. “Scratch” opens with extended, loose-limbed funk. “Eleanor Rigby” unfolds in a measured, understated arrangement, highlighting ensemble interplay over a familiar melody. “Way Back Home” and “Hard Times” balance solo passages with structured rhythm, while “So Far Away” adapts pop textures into the live jazz setting.

A1. “Scratch” (5:45)
A2. “Eleanor Rigby” (12:27)

B1. “Hard Times” (7:26)
B2. “So Far Away” (4:35)
B3. “Way Back Home” (8:41)

The live set was captured with remote facilities from Wally Heider Recording and The Records Plant, Los Angeles. Stewart Levine produced and Rik Pekkonen engineered. Mastering occurred at The Mastering Lab under Arnie Acosta.

The front cover features design and photography by Tom Wilkes; back cover photography is by Neal Preston and Suzanne Ayers.

Chain Reaction

The Crusaders released their seventh studio album, Chain Reaction, in August 1975 on Blue Thumb Records.

The album emphasizes layered instrumentation, tight rhythm section work, and expressive solos. The ensemble blends percussive drive, Fender Rhodes textures, and horn lines, maintaining instrumental focus while highlighting each member’s contributions.

Joe Sample, Wayne Henderson, Stix Hooper, Wilton Felder, and Larry Carlton wrote the majority of the material. Wilton Felder contributed “Creole,” and Stix Hooper wrote “I Felt the Love.” The lineup consists of Henderson on trombone, Felder on bass and saxophone, Sample on keyboards, Hooper on drums and percussion, and Carlton on guitar.

The album divides into rhythmic tracks and concise instrumental statements. “Chain Reaction,” “Give It Up,” and “Sugar Cane” combine varied tempos and layered rhythms. “I Felt the Love” and “Mellow Out” offer short, contoured passages. Fender Rhodes chords and Carlton’s guitar riffs punctuate the ensemble, while Felder and Henderson provide horn counterpoint that accentuates rhythmic shifts.

A1. “Creole” (3:25) Felder grounds the tune with supple bass phrasing while brass and keys interlock in clipped exchanges, shaping a brisk dialogue over Hooper’s driving pulse.
A2. “Chain Reaction” (5:35) Sample’s Fender Rhodes leads with angular figures, answered by brass stabs and Carlton’s guitar lines, all converging in layered propulsion that builds with steady insistence.
A3. “I Felt the Love” (2:28) Hooper sets a lighter pace, with compact percussion accents framing a brief interplay of Rhodes textures and restrained brass swells.
A4. “Mellow Out” (2:44) Carlton’s guitar sketches contoured runs against a relaxed rhythmic framework, balancing sharp rhythmic strikes with flowing sustain.
A5. “Rainbow Visions” (6:15) Henderson’s trombone unfolds in long arcs, contrasting with Sample’s sparkling keyboard figures as the rhythm section stretches into extended patterns.

B1. “Hallucinate” (5:08) Sample’s keys shift between clipped motifs and expansive flourishes, threading through shifting horn phrases over a syncopated foundation.
B2. “Give It Up” (2:56)
B3. “Hot’s It” (3:50)
B4. “Sugar Cane” (2:31) Felder’s sax takes the forefront with sharp, agile lines, weaving tightly over clipped rhythmic figures from Rhodes and percussion.
B5. “Soul Caravan” (5:30) All five members converge, trading motifs across shifting textures as brass, keys, and guitar fold into a collective statement anchored by unyielding rhythm.

Sessions occurred at Wally Heider Recording Studio in Los Angeles with Stewart Levine and the Crusaders producing and Rik Pekkonen engineering. Mastering occurred at The Mastering Lab.

The album was issued in a green and white ABC inner sleeve with illustration by Ed Scarisbrick and photography by Ron Slenzak.

The single “Stomp and Buck Dance” did not chart on the main listings for this release.

Those Southern Knights

The Crusaders released their eighth studio album, Those Southern Knights, in May 1976 on Blue Thumb Records.

The album emphasizes funk-oriented jazz with extended solo passages and layered instrumentation. It blends uptempo numbers with slower, contemplative pieces while showcasing each member’s individual contributions.

Joe Sample, Wayne Henderson, Larry Carlton, Wilton Felder, Stix Hooper, and Robert “Pops” Popwell wrote the material. Popwell contributes one composition, and Hooper adds one track to the set. Sample handles keyboards, Carlton and Arthur Adams perform guitar, Felder plays tenor saxophone and bass, Henderson plays trombone, and Hooper covers drums and percussion.

The music alternates between lively, rhythm-driven tracks and slower, reflective pieces. “Spiral” delivers frenetic phrasing over a tight foundation. “My Mama Told Me So” and “Feeling Funky” foreground the band’s rhythm section. “And Then There Was the Blues” extends over nine minutes with solo passages from multiple members. “Til the Sun Shines” features a concise, synthesized-string ballad approach, while “Serenity” stretches a simple motif with subtle atmosphere.

A1. “Spiral” (6:14)
A2. “Keep That Same Old Feeling” (5:36)
A3. “My Mama Told Me So” (4:50)
A4. “Til the Sun Shines” (2:42)

B1. “And Then There Was the Blues” (9:43)
B2. “Serenity” (7:17)
B3. “Feeling Funky” (3:00)

Sessions occurred at Total Experience Studios in Hollywood with Stewart Levine and the Crusaders producing. F. Byron Clark recorded, engineered, and remixed the album. Bernie Grundman mastered the release.

Art direction was by Tom Wilkes, and photography by Ethan Russell.

Free as the Wind

The Crusaders released their ninth studio album, Free as the Wind, on May 25, 1977, on Blue Thumb Records.

The record highlights the group’s late-’70s blend of jazz, funk, and R&B textures, with orchestrated horn and string passages woven into their rhythm-driven ensemble playing.

Keyboardist Joe Sample wrote “Free as the Wind,” “Sweet ’n’ Sour,” and “It Happens Everyday.” Drummer Stix Hooper composed “I Felt the Love” and co-wrote “Feel It” with Lamont Dozier, guitarist Larry Carlton, bassist Robert Popwell, and saxophonist Wilton Felder. The albums contains one track each by Popwell (“The Way We Was”), Carlton (“Nite Crawler”), and Felder (“River Rat”).

The title track moves with tense, driving pace, while “I Felt the Love” layers subtle funk percussion under saxophone and keys. “The Way We Was” centers on finger-popping bass figures, and Carlton’s “Nite Crawler” provides a steamy showcase for Felder’s saxophone lines. “Feel It” builds on clavinet textures and tom-tom accents, and “It Happens Everyday” closes the album with wistful, contoured phrasing from Sample.

A1. “Free as the Wind” (6:17)
A2. “I Felt the Love” (5:10)
A3. “The Way We Was” (5:24)
A4. “Nite Crawler” (4:45)

B1. “Feel It” (4:15)
B2. “Sweet ’n’ Sour” (8:57)
B3. “River Rat” (2:29)
B4. “It Happens Everyday” (5:40)

Sessions occurred at Hollywood Sound Recorders in Hollywood, California, with production by Stewart Levine and engineering by Rik Pekkonen. Mastering was handled by Bernie Grundman.

Free as the Wind features album design by Tim Ritchie, with photography by Ed Simpson.

Images

The Crusaders released their tenth studio album, Images, in June 1978 on Blue Thumb Records.

The album continues the group’s late-’70s fusion of jazz, funk, and R&B textures, with arrangements shaped by electric bass, saxophone, and layered keyboards.

Keyboardist Joe Sample wrote “Fairy Tales,” “Merry-Go-Round,” and “Snowflake.” Drummer Stix Hooper composed “Marcella’s Dream,” and saxophonist Wilton Felder contributed “Bayou Bottoms” and “Covert Action.” Bassist Robert “Pops” Popwell supplied “Cosmic Reign.”

“Fairy Tales” moves with insistent disco pacing, while “Snowflake” contrasts its title with brisk tempo and sharp keyboard runs. “Merry-Go-Round” pulls from urban funk structures. Hooper’s “Marcella’s Dream” works in low-key blues-funk layers, and Felder’s “Bayou Bottoms” features his saxophone against a steady rhythmic stride. “Cosmic Reign” shifts from diffuse synth textures into street-driven funk and brief bop inflections, while “Covert Action” emphasizes stripped-back rhythm figures.

A1. “Fairy Tales” (4:42)
A2. “Marcella’s Dream” (6:52)
A3. “Bayou Bottoms” (4:15)
A4. “Merry-Go-Round” (6:13)

B1. “Cosmic Reign” (8:08)
B2. “Covert Action” (5:19)
B3. “Snowflake” (4:55)

Sessions occurred at Hollywood Sound Recorders in Hollywood, California, with production handled by Joe Sample, Wilton Felder, and Stix Hooper. Rik Pekkonen engineered and mixed the album, with mastering by Bernie Grundman.

Art direction was by Richard Germinaro and Stuart Kusher, with photography by Graham Henman and Larry DuPont.

Street Life

The Crusaders released their eleventh studio album, Street Life, on December 9, 1979, on MCA.

Street Life represents the group’s peak in public recognition, driven by its lengthy title track featuring guest vocalist Randy Crawford.

The album blends jazz fusion with R&B and disco inflections, expanding their core trio of Joe Sample, Wilton Felder, and Stix Hooper with multiple guitarists, horn players, and orchestral arrangements.

Keyboardist Joe Sample wrote “Rodeo Drive (High Steppin’),” “Night Faces,” and “The Hustler,” and co-wrote the title track with lyricist Will Jennings. Saxophonist and bassist Wilton Felder contributed “My Lady” and “Carnival of the Night,” while drummer Stix Hooper composed “The Hustler.” Randy Crawford sings “Street Life,” with additional vocals by Louis and Monique Aldebert on “My Lady.”

The title track stretches over eleven minutes, pairing orchestral swells with Crawford’s vocal lines against shifting rhythmic layers. “My Lady” and “Rodeo Drive (High Steppin’)” place Felder’s saxophone in close interplay with electric bass and guitar textures, while “Carnival of the Night” explores nocturnal pacing through layered percussion and brass figures. The closing tracks, “The Hustler” and “Night Faces,” emphasize compact instrumental exchanges with keys anchoring harmonic direction.

A1. “Street Life” (11:18) Frames a vivid urban tableau with layered orchestration and dynamic bass-sax interplay around Crawford’s voice. The arrangement stretches across peaks and pauses, with the bass and percussion pressing the pace while string accents heighten its cinematic sweep.
A2. “My Lady” (6:43) Wilton Felder’s saxophone sets a lyrical line against clipped rhythm guitar and steady bass. The keys weave in as connective tissue, binding the phrasing into a compact, nocturnal atmosphere.
A3. “Rodeo Drive (High Steppin’)” (4:28) Built on brisk rhythm figures, the piece pairs angular keyboard accents with bright horn interjections. The interplay between syncopated bass runs and guitar fills mirrors the track’s polished urban stride.

B1. “Carnival of the Night” (6:24) Saxophone phrases rise and fall in circling patterns, while percussion punctuates the shifting sections. Guitar and keys alternate in focus, layering textures that evoke movement within the nocturnal setting implied by the title.
B2. “The Hustler” (5:18) Propelled by insistent drumming, the track balances sharp alto saxophone lines with punctuated guitar chords. The rhythm maintains a restless momentum, underscoring the title’s sense of pursuit.
B3. “Night Faces” (5:10) The closer leans on atmospheric keyboard voicings, framing saxophone contours that move with quiet intensity. Bass and drums hold a measured pace, allowing the harmonies to stretch and dissolve into a subdued ending.

Sessions occurred at Hollywood Sound Recorders in Hollywood, California, with production handled by Joe Sample, Wilton Felder, and Stix Hooper.

The album cover features a nighttime photograph shot at 409 N. Rodeo Drive in Beverly Hills, California.

The title track was issued as a single, reaching No. 36 on the US Billboard Hot 100, No. 17 on the R&B chart, No. 75 on the Disco chart, and No. 5 on the UK Singles Chart. The album itself reached No. 1 on the Billboard Jazz Albums chart, No. 3 on the R&B Albums chart, and No. 18 on the Billboard 200.

Rhapsody and Blues

The Crusaders released their twelfth studio album, Rhapsody and Blues, in May 1980 on MCA.

The album carries the group’s late-1970s blend of jazz fusion and R&B, layering extended instrumental passages with rhythmic drive and occasional guest vocals. It marked a continuation of their polished production style in the wake of Street Life.

Keyboardist Joe Sample wrote “Rhapsody and Blues,” “Last Call,” and “Sweet Gentle Love” and co-wrote “Soul Shadows” with lyricist Will Jennings. Drummer Stix Hooper composed “Elegant Evening,” while saxophonist and bassist Wilton Felder contributed “Honky Tonk Struttin’.” Guest performers included Bill Withers, who sang on “Soul Shadows,” percussionist Sheila E., and guitarist Roland Bautista.

The material ranges from the expansive “Soul Shadows,” which stretches vocal and instrumental lines over eight minutes, to the tightly constructed “Honky Tonk Struttin’,” built on clipped rhythmic figures. The title track serves as a centerpiece, layering Sample’s keyboard textures over extended harmonic turns, while “Elegant Evening” offers a more measured pace led by Hooper’s composition.

A1. “Soul Shadows” (8:16)
A2. “Honky Tonk Struttin’” (4:26)
A3. “Elegant Evening” (6:03)

B1. “Rhapsody and Blues” (8:48)
B2. “Last Call” (6:40)
B3. “Sweet Gentle Love” (4:56)

Sessions occurred at MCA facilities with production by Joe Sample, Stix Hooper, and Wilton Felder.

The album peaked at No. 2 on the US Billboard Top Jazz LPs chart.

Standing Tall

The Crusaders released their thirteenth studio album, Standing Tall, on November 20, 1981, on MCA.

The album balances their jazz-funk foundation with vocal features and orchestrated arrangements, showcasing keyboardist Joe Sample’s writing and arranging alongside tight ensemble playing.

Sample wrote or co-wrote five of the album’s seven tracks. Drummer “Stix” Hooper composed “Standing Tall,” while Bobby Emmons and Chips Moman provided “Luchenbach, Texas (Back to the Basics of Love).” Sample and lyricist Will Jennings collaborated on “I’m So Glad I’m Standing Here Today,” “Sunshine in Your Eyes,” “This Old World’s Too Funky for Me,” “Longest Night,” and the closing instrumental reprise.

Ballads such as “Sunshine in Your Eyes” and “Longest Night” place Sample’s piano against layered strings and horns, while “Standing Tall” opens the record with driving rhythm and sharp horn accents. Joe Cocker appears on “I’m So Glad I’m Standing Here Today” and “This Old World’s Too Funky for Me,” bringing a blues-inflected vocal counterweight to Sample’s orchestrations. The cover of “Luchenbach, Texas (Back to the Basics of Love)” leans into country-inflected pacing, contrasting with the funk edge of the surrounding material.

A1. “Standing Tall” (6:46)
A2. “I’m So Glad I’m Standing Here Today” (5:02)
A3. “Sunshine in Your Eyes” (6:11)

B1. “This Old World’s Too Funky for Me” (5:25)
B2. “Luchenbach, Texas (Back to the Basics of Love)” (4:23)
B3. “Longest Night” (6:24)
B4. “Reprise: I’m So Glad I’m Standing Here Today (Instrumental)” (2:59)

Sessions took place at Music City Music Hall in Nashville, with “This Old World’s Too Funky for Me” recorded at Paramount Studios in Hollywood. Additional work occurred at Salty Dog Studios, Producers Workshop, Wally Heider Recording Studio in Los Angeles, and Yamaha Studios. The album was produced by Hooper, Sample, and Wilton Felder, with engineering by Galen Senogles and Bill Harris.

The cover features photography by Alan Messer with art direction by George Osaki and design by Georgopoulos/Imada.

Singles included “I’m So Glad I’m Standing Here Today” featuring Joe Cocker.

Live in Japan

In 1981, the Crusaders released Ongaku Kai, Live In Japan, sourced from their January 18 show at the NHK Hall in Tokyo.

The performance blends the group’s jazz-funk sound with orchestrated arrangements, featuring the core trio of Joe Sample, Wilton Felder, and “Stix” Hooper joined by guest musicians on guitar, bass, and percussion.

Sample wrote four of the album’s seven compositions: “Rainbow Seeker,” “Spiral,” “In All My Wildest Dreams,” and “Carmel,” along with the closing “Put It Where You Want It.” Hooper contributed “Hustler” and “Sweet Gentle Love.”

The set moves between expansive ensemble passages and intimate solos. “Rainbow Seeker” and “Spiral” feature Sample’s layered keyboard voicings over tightly controlled rhythm, while “Hustler” and “Sweet Gentle Love” emphasize Hooper’s percussive drive. “In All My Wildest Dreams” slows the pace with a lyrical piano focus, and “Put It Where You Want It” closes with rhythmic sharpness and full-band interplay.

A1. “Introduction” (2:36)
A2. “Rainbow Seeker” (4:52)
A3. “Hustler” (8:30)
A4. “Sweet Gentle Love” (5:22)

B1. “Drum Introduction” (1:51)
B2. “Spiral” (7:09)
B3. “In All My Wildest Dreams” (5:25)
B4. “Carmel” (5:09)
B5. “Put It Where You Want It” (4:19)

Sessions occurred at NHK Hall in Tokyo on January 18, 1981, recorded by Recording Mobile Tamco and later edited at Salty Dog Studios. Hooper, Sample, and Felder produced the album with engineering and mixing by Galen Senogles.

The cover features an embossed gold relief design of a traditional warrior, with art direction by George Osaki and design by Gribbitt!/Michael Kevin Lee.

Royal Jam

In 1982, the Crusaders released Royal Jam, a live double-album recorded at London’s Royal Albert Hall with BB King and the Royal Philharmonic Orchestra.

The concert joins the Crusaders’ rhythm-driven jazz-funk core with orchestral accompaniment and featured guests. Joe Sample arranged and orchestrated the Royal Philharmonic parts, while the group balanced expanded instrumentation with their tight ensemble foundation.

Sample and Will Jennings wrote six of the album’s eleven tracks, including the opening “Overture (I’m So Glad I’m Standing Here Today).” Sample alone composed “Fly with Wings of Love” and “Last Call.” Roy Hawkins and Rick Darnell contributed “The Thrill Is Gone,” and Hooper and Jennings co-wrote “Never Make a Move Too Soon.”

The set moves between orchestrated numbers and guest features. “Fly with Wings of Love” stretches into extended piano improvisation against orchestral swells, while “Burnin’ Up the Carnival” and “Street Life” spotlight Josie James’ vocals. B.B. King dominates the second half with “The Thrill Is Gone,” “Better Not Look Down,” and “Hold On,” his clipped phrasing locked against Hooper’s rhythm and Sample’s electric piano replies. The closing encores “I Just Can’t Leave Your Love Alone” and “Never Make a Move Too Soon” keep King at the center, with Felder introducing the band as emcee.

A1. “Overture (I’m So Glad I’m Standing Here Today)” (3:30)
A2. “One Day I’ll Fly Away” (5:37)
A3. “Fly with Wings of Love” (8:36)

B1. “Burnin’ Up the Carnival” (5:36)
B2. “Last Call” (7:48)

C1. “The Thrill Is Gone” (4:58)
C2. “Better Not Look Down” (5:33)
C3. “Hold On” (4:07)

D1. “Street Life” (6:47)
D2. “I Just Can’t Leave Your Love Alone” (3:03)
D3. “Never Make a Move Too Soon” (3:41)

Sessions occurred at Royal Festival Hall in London with Hooper, Sample, and Felder producing. Galen Senogles handled engineering and mixing.

Ghetto Blaster

The Crusaders released their fourteenth studio album, Ghetto Blaster, in April 1984 on MCA.

The record reflects their shift into a mid-1980s sound, layering synthesizers and programmed textures against rhythm-section interplay and vocal features.

Joe Sample, Wilton Felder, and Leon “Ndugu” Chancler produced the album. Sample arranged the strings and played piano and keyboards, while Felder contributed bass and saxophone. Felder co-wrote alongside outside writers on “Dead End” and “Mr. Cool,” while Gwen Evans and Jessica Williams provided vocals on select tracks.

The set moves between instrumental pieces and vocal-led songs. “Dead End” and “Mr. Cool” push forward with clipped horn lines and layered keyboards, while “New Moves” and “Gotta Lotta Shakalada” highlight Evans and Williams in compact, rhythm-driven settings. “Night Ladies” stretches into a slower, extended form with Williams on vocals, and “Zalal’e Mini (Take It Easy)” leans on percussion and call-and-response phrasing.

A1. “Dead End” (4:56)
A2. “Gotta Lotta Shakalada” (3:54)
A3. “New Moves” (4:16)
A4. “Zalal’e Mini (Take It Easy)” (6:10)

B1. “Night Ladies” (7:07)
B2. “Mr. Cool” (5:36)
B3. “Dream Street” (4:21)

Sessions occurred at Devonshire Studios, The Village Recorder, Sound Castle Recorders, and Studio Masters in Los Angeles. Sample, Felder, and Chancler produced for Crusaders Productions, with F. Byron Clark engineering and K Disc Mastering handling final mastering.

The cover features photography by Aaron Rapoport with art direction by George Osaki and design by Tracy Veal.

Discography: