Southern Jazz Music

The outstanding talent of King Curtis is shown particularly in this melody. For those that know and love sax "On Broadway" will be a real sensual immense pleasure to listen the variations Curtis reach with his instrument.
Try it and you will never regret it.

Absolutely the greatest saxophonist ever !!!!A must buy !!!!

"Thick In The South: Soul Gestures In Southern Blue, Vol. 1" is a great release for Wynton Marsalis who not only plays exceptional trumpet, but also writes great compositions. Having listened to, "Black Codes (From The Underground," this is a very different approach for Wynton. It's alot more laid-back then "Black Codes," but this doesn't make it any less enjoyable.

All of the musicians (as usual) are stellar. Wynton is joined by Joe Henderson (tenor saxophone), Marcus Roberts (piano), Bob Hurst (bass), and Elvin Jones, Jeff Watts (drums). Again, Wynton surrounds himself with two jazz legends like Henderson and Jones, but don't let their star status outshine the other musicians who turn in an equally great performance.

"Thick In The South: Soul Gestures In Southern Blue, Vol. 1" was released in 1991 and is apart of a fantastic series, which like other reviewers have said, is overlooked and underrated.

If you're a fan of bebop and post-bop, then you should really check out this series.

Soul Gestures In Southern Blue:

Thick In The South, Volume 1
Uptown Ruler, Volume 2
Moan Low Levee, Volume 3

I like all three of these albums that came out together - (but Uptown ruler is a little weak). This is a moody set that swings and stretches out.
Give it time and relax into this one. The band is so tight - try to take in all the parts that play off each other and build on top of each other. This is the period when the band was at their best.
After you buy these three disks, check out the uneven but inexpensive live at the Village Vanguard.

Although most critics believe Wynton Marsalis's "Thick in the South" is the strongest third of his grossly underrated "Soul Gestures In Southern Blue" series, I must disagree. The band plays well, but the songs just aren't as gripping as the other ones are in volumes 2 and 3 (Uptown Ruler and Levee Low Moan, respectively).

The strongest part of this album is easily the title track. Wynton wastes no time busting into his high-octane solo, which is followed by an equally intense performance by Joe Henderson. The original version of "So This Is Jazz, Huh?" is also a part of this album, but it pales in comparison to the second version on "Levee Low Moan".

Overall, with the exception of the title track, this is only a lukewarm album. If the title track did not exist, then I would not recommend it.

This is one of Marsalis' best and unfortunately gets overlooked too often. It bootysmacks!

Two words: great album!
Lay down and relax, it will clear your head, no doubt about it. This is for those hot days or even better hot nights to cool you down. Practically an all-ballad CD, blues influenced and the guys aren't rushing things so it's pretty slow. Hard to pick a favorite, because they're all good. And how can they be not when there's Wynton Marsalis (trumpet); Joe Henderson (tenor saxophone); Marcus Roberts (piano); Bob Hurst (bass); Elvin Jones, Jeff Watts (drums). Well if a had to pick a favorite I'd say it's `So This Is Jazz. Huh' or `L.C. on the cut'. Wynton Marsalis and the blues.

"Thick In The South: Soul Gestures In Southern Blue, Vol. 1" is a great release for Wynton Marsalis who not only plays exceptional trumpet, but also writes great compositions. Having listened to, "Black Codes (From The Underground," this is a very different approach for Wynton. It's alot more laid-back then "Black Codes," but this doesn't make it any less enjoyable.

All of the musicians (as usual) are stellar. Wynton is joined by Joe Henderson (tenor saxophone), Marcus Roberts (piano), Bob Hurst (bass), and Elvin Jones, Jeff Watts (drums). Again, Wynton surrounds himself with two jazz legends like Henderson and Jones, but don't let their star status outshine the other musicians who turn in an equally great performance.

"Thick In The South: Soul Gestures In Southern Blue, Vol. 1" was released in 1991 and is apart of a fantastic series, which like other reviewers have said, is overlooked and underrated.

If you're a fan of bebop and post-bop, then you should really check out this series.

Soul Gestures In Southern Blue:

Thick In The South, Volume 1
Uptown Ruler, Volume 2
Moan Low Levee, Volume 3

I like all three of these albums that came out together - (but Uptown ruler is a little weak). This is a moody set that swings and stretches out.
Give it time and relax into this one. The band is so tight - try to take in all the parts that play off each other and build on top of each other. This is the period when the band was at their best.
After you buy these three disks, check out the uneven but inexpensive live at the Village Vanguard.

Although most critics believe Wynton Marsalis's "Thick in the South" is the strongest third of his grossly underrated "Soul Gestures In Southern Blue" series, I must disagree. The band plays well, but the songs just aren't as gripping as the other ones are in volumes 2 and 3 (Uptown Ruler and Levee Low Moan, respectively).

The strongest part of this album is easily the title track. Wynton wastes no time busting into his high-octane solo, which is followed by an equally intense performance by Joe Henderson. The original version of "So This Is Jazz, Huh?" is also a part of this album, but it pales in comparison to the second version on "Levee Low Moan".

Overall, with the exception of the title track, this is only a lukewarm album. If the title track did not exist, then I would not recommend it.

This is one of Marsalis' best and unfortunately gets overlooked too often. It bootysmacks!

Two words: great album!
Lay down and relax, it will clear your head, no doubt about it. This is for those hot days or even better hot nights to cool you down. Practically an all-ballad CD, blues influenced and the guys aren't rushing things so it's pretty slow. Hard to pick a favorite, because they're all good. And how can they be not when there's Wynton Marsalis (trumpet); Joe Henderson (tenor saxophone); Marcus Roberts (piano); Bob Hurst (bass); Elvin Jones, Jeff Watts (drums). Well if a had to pick a favorite I'd say it's `So This Is Jazz. Huh' or `L.C. on the cut'. Wynton Marsalis and the blues.

Sounds like the background music used in the 70's Rockford Files TV crime show...and a little like the CHIPS music too. Similar to music by Tom Scott from back then. The crusaders never really get hard funky or dirty funky, they are more smooth groovin funk. The sound for the times is very clean, too produced for true funkyness. Don't get me wrong I like the old 60's JAZZ crusaders, just not this 70's phase of their career...they sold out to a large extent, and continue to do so, it's where the money is. No improvisatory feel either. This is for smooth jazz lovers. hard funk lovers will be disappointed, as will true jazzers. I wish the crusaders kept their jazz chops from the 60's but they keep burying it like it never happened, even to this day, afraid to lose sales if they get too musically adverturous like their mid/late 60's true jazz albums. Their 70's albums like this are partly to blame for today's smooth jazz... in other words, not really jazz, not really funky, just kind of smooth groovin, more for casual adults and offices. not challenging, not offensive, formulated to an extent. But hey if you like this, that's cool, just dont think it's real jazz, or real funk. It's smooth and casual, slightly simmers, pleasant background music, but doesn't COOK like so many other groups from the same time period that mixed jazz, funk, and fusion. It just sounds like they are holding back...I know they can play more advanced, and write more creatively, they just choose not to ever since the 60's.

This is a great album.It features fretwork by a young Larry Carlton.Reason enough to run out and buy this classic.

This is a wonderfully smooth album that you can just put on and do whatever drive, kick back, work whatever. If you like jazz or are just getting into jazz or if you just like great music then this is a excellent investment. A rollercoaster ride of of tempos and emotions or for lack of a better word just plain COOL!! My favorite is "And Then There Was The Blues" oh so smooth. The Crusaders are ALWAYS a safe buy don't waste time go and get it.

I love that album. I think It's one of the best Jazz album ever made!The songs "Spiral" and "Serenity" are so relaxing. The Crusaders are great musicians!

The word "vintage" is much more appropriate, I feel. This 1976 release is from way, way back in the Crusdaders' careers when trumpeter Wayne Henderson and guitarist Larry Carlton were still part of the group, not to mention Robert "Pops" Popwell who was the band's bassist. Produced by Stewart Levine, this is a collection of soulful, funky grooves over which each member gets to show his stuff. The vocal tune "Keep That Same Old Feeling" was a hit way beyond the boundaries of jazz and I remember hearing it on the radio a lot back in the day. It brings to mind something Roy Ayers might have done. The guys also got to show their vocal talents on "And There Was The Blues".

It's all good stuff but the ballads "Til' The Sun Shines" (written by Carlton) and "Serenity" (written by Felder) are my overall favourites. For Crusaders fans and fans of smooth jazz from the 70s (when smooth jazz was still being done right), this is definitely worth a look.

A much better album though, it has to be said, is the 1977 follow up to this one, Free as the Wind. It's more adventurous, more exciting and more jazzy. It also has string and horn orchestrations, arranged by group keyboardist Joe Sample. Highly recommended.