Digitally re-mastered edition of this 1973 album. Saxophonist Bartz is one of the great post-Coltrane saxophonists. He made his professional name in New York in the early '60s before hooking up with McCoy Tyner later in the decade, and played with Miles Davis in the period immediately after the release of Bitches Brew. He formed his band the NTU Troop at the same time and began to experiment with Funk rhythms, lyrics and Jazz improvisations.
If you're talking about packaging, the flaws of this disc are considerable. Comprised of 14 songs from 1960-1990 (most from 1960-71), the unifying theme is that all of them are taking from Houston recording sessions. But while recording dates and some personnel are noted, the original labels and dates of release are not. Furthermore, although the liner notes give a reasonable overview of Copeland's career, the tracks on this specific compilation are not discussed. And, putting the boot in, the cuts are not sequenced chronologically, but arranged almost as if someone had pressed the random button on a CD remote. Now, having aired all those complaints, the music is very good. These are fiery, committed performances in which the songs and arrangements often veer as much toward soul as toward blues. That's something that works to Copeland's advantage, both because he was versatile enough to combine styles well, and because it made him stand out from legions of other journeymen bluesmen.
The Crusaders really came into their own in the 70's with their own blend of jazz, funk and pop, culminating with their smash hit 'Street Life' in '79. The opening "Dead End",a fine funk jazz romp through everything this band does best! And Leon Ndugu Chancler's choice to leave George Duke's band for the Crusaders added alot of excitment to the mix so how could this. This album is highly recommended for the electro-funk fans.