While jazz music has never been focused on commercial success, The Crusaders’ Street Life was not only a success in that regard but is also their creative pinnacle. Few jazz-based albums are as fluid as Street Life and this is one release that is amongst the best of what jazz has to offer. It’s also one of the best albums from 1979 with an infectious rhythm that captivates the music lover within. 

Originally billed as the Jazz Crusaders, prior to 1971, The Crusaders would release no fewer than 29 studio albums before Street Life. While new albums, post-Street Life, were released, they never quite captured the spirit that The Crusaders were renowned for. As has been the case throughout the years, once a peak has been reached it is often difficult for an artist to not only re-capture and re-infuse themselves but also reinvent their art into subsequent zeitgeists. It is with this in mind that makes Street Life such a monumental release for it speaks to the era, but like all great music, it has remained timeless and is as magnificent today as it was in 1979. 

For some reason that escapes my understanding, this seminal recording has remained out-of-print on vinyl since the mid-80s. Yes, it’s been remastered and reissued on CD, even with vinyl replica artwork, but for those of us who don’t wish to seek out a used copy, preferring to create our own memories with the music we love, this omission is frustrating. The lossless Apple Music stream is a lovely facsimile but depending on how you have your system configured, it can be a little shrill and fatiguing if you prefer to keep your EQ settings flat. Personally, I prefer a little boost in the low end and a slight reduction in the treble range as it best mimics the warmth that is closest to analogue reproductions but I acknowledge that many people, particularly with modern listening equipment, often lack an equaliser and will therefore not be so fortunate to be able to address this issue. Another problem, for those of us seeking the very best quality in music, is that there’s no indication via Apple Music if this is the 2014 remaster or an earlier CD mastering. This makes it difficult to ascertain its provenance and if the aforementioned CD is worthy of acquisition over the stream. Of course, this is a quibble that only a few will entertain but as we all know it’s the music that is the most important thing, so let’s take a look at the songs that make up Street Life.

Street Life is a pure masterstroke with exceptional vocals from Randy Crawford. It’s so good that I wish Crawford and The Crusaders had recorded an entire album together. Of course, if that had happened, Street Life may not have been as singularly spectacular as it is. From the smoothness of the opening notes, to Crawford’s soulful vocal, to the upbeat firestorm of rhythm, this 11-minute epic is utterly perfect. Yet, this original composition wasn’t my first experience of the song. 

In 1997, towards the end of my formative years, Quentin Tarantino’s Jackie Brown was released and along with it a killer soundtrack with one of the songs being Street Life; albeit a higher tempo, significantly abridged version, but I was intoxicated and it has remained in my consciousness ever since. The day I streamed the original, not realising that it was a Crusaders’ release, for the Jackie Brown soundtrack billed it as a Randy Crawford song, I was ecstatic. It was as if I had found the meaning of life, as ridiculous as that may sound. Nevertheless, let me give you an insight into the versions that I feel are worthy of listening to. 

Randy Crawford’s version from the Jackie Brown soundtrack is magnificent but I’d argue that the conciseness loses some of the magic that can be heard on the original recording. Yes, the core principles are there, but the focus of this edition is very much the vocal aspect with only a small musical interlude that is jazzy but can no longer be classed as jazz. Herb Alpert’s rendition, from Rise, is another beast entirely for it is condensed, and a little disco-driven, but thanks to Alpert’s exceptional trumpeting, it retains the soul of the song by comparison.  

If you’re after a live performance of Street Life, look no further than Randy Crawford’s performance from Live In Zagreb; a solid live performance only overshadowed by the original studio recording. While some may suggest checking out the 2012 performance with Joe Sample, it is too focused on improvisation. Granted that’s a trait of live jazz performances but it is too far removed from the original to be compelling for this listener. 

My Lady follows Street Life perfectly with a rhythm that isn’t entirely removed from the first track, thereby ensuring fluidity when listening in the album format. It’s less bold by comparison, as are the remaining songs on Street Life, but one must remember that the rest of the album is sans lyrics and it’s this musical focus that makes up The Crusaders’ greater catalogue. Yes, My Lady features some vocal harmonies but none are lyrical thereby making the human voice an instrument in the mix. Either way, this is an exceptional tune.

Rodeo Drive (High Steppin’) is a little lighter when it comes to the chosen style for its story is one regarding the glitz and glamour of the famed street. Of course, the way you interpret the song may differ but it’s always interesting to hear how musicians can make their instruments and compositions sing without the need for lyrics. That said, if they hadn’t titled the song as they did, the correlation likely wouldn’t be apparent so there’s a little confirmation bias at play here. Regardless, Rodeo Drive (High Steppin’) is Jazz 101.

Carnival Of The Night will get you on your feet if you’re not already toe-tapping, for its ability to involuntarily move your body is one of its most notable qualities. Plus, that interweaving soloing is out-of-this-world. A great song by anyone's standards. 

The Hustler shifts gears a little and is one song on this particular release that I feel is a little too forward in the treble range, thereby making it a more challenging listen without shifting the EQ settings. That said, The Hustler is the weakest song on Street Life but I couldn’t imagine the album sans this song and I never skip over it when listening via the album format. 

Night Faces is a lovely song to close the album on. Some will lament its overall styling whereby it has a jazz-club feel to it, but I prefer to look at it reflectively as it allows me to ponder the magnificence that has come before it. I rarely listen to Street Life without putting it on repeat, and Night Faces encourages me to listen to the album again, but it can also be the perfect track to close out a relaxed night of listening.

While individual songs are important for they tell a unique tale within themselves, Street Life is a fluid piece of audible art and as such while we can discuss the individual tunes this is one album that truly needs to be appreciated in the album format. Yes, the title track is worthy of any 70s, or jazz-inspired, playlist, but as each composition flows from one to the other we’re met with a flawless album that has not only stood the test of time but will remain one of the greatest jazz albums ever released.