On the Corner

Read About This Recording

The '60s were turbulent times in America; the entire political and social structural environment was dramatically changing with the civil rights movement in full swing and "freedom now" was the order of the day. The accompanying music for these riotous times was also in the midst of reconstruction. Miles Davis had just ended the decade with Bitches Brew and introduced his next innovative flame burner On the Corner. This was his first recording to utilize overdubbing and multiple tape machines and his third jazz-fusion album.

Once again as in the past, trumpeter Davis was reflecting the changing tastes in culture. On many levels On the Corner, was ahead of its time in the jazz world and Miles was leading the charge with his inventive sound of jazz-rock fusion. He incorporated the passionate funk of James Brown and the soulful rock rhythms of Sly Stone. Similar to his bebop days, this band has an orchestral flavor with its multiple instruments including drummers Jack DeJohnette, Al Foster and Billy Hart; saxophonists Carlos Garnett, David Liebman; Herbie Hancock and Chick Corea on Fender Rhodes, Harold Williams on organ and synthesizer and Miles out front with the haunting funk of his wah-wah pedal. The solos are long but emotionally stimulating.

This is a complete performance with Miles expanding the language of jazz, playing strong and melodic with textured layers of electronic rhythms.

—Ron Scott

Extended Article

Twenty-eight years after its initial release on LP and nearly a decade after the artist’s death (in 1991, at 65), On the Corner remains, hands down, the single most controversial album in the vast — and vastly influential — canon of Miles Davis. When it appeared late in 1972, the year it was recorded, On the Corner seemed to have been born, or unleashed, with attitude to spare. From its ironically street-y cartoon cover and humorously egotistical subtext (two of the characters sported pull-overs with “Vote for Miles” printed across their chests) to its clattering sound mix and world-party funk grooves, On the Corner screamed to old guard Miles fans, “You hate me. You REALLY hate me!”

But Davis was saying, “So what” to the critics and that segment of his fandom who craved yet another rendering of “So What” and other “greatest hits” from the 1950s and ‘60s, when he told his collaborator, Quincy Troupe, in Miles Davis—The Autobiography: “It was with Sly Stone and James Brown in mind that I went into the studio ... to record On the Corner.” The great trumpeter/bandleader also cited the important electronic composer Karlheinz Stockhausen, contemporary classical composer (and sometime pop music arranger) Paul Buckmaster and free jazz visionary Ornette Coleman, as having affected his thought processes. “The music was about spacing, about free association of musical ideas to a core kind of rhythm and vamps and bass line.”

So here it is, in all its global and ornery glory, remixed and remasterd for the 21st century, to which it may be far better suited than the one in which it was created. With his customary cadre of surpassing sideman in tow (including Herbie Hancock, Chick Corea, John McLaughlin, David Liebman and Jack DeJohnette), here’s Miles Davis making a clean break with with his illustrious past and forging yet another bold new present. Whether it’s a “Work of Genius” or abject funk is almost beside the point. There is no question that On the Corner stands alone in a body of work that knows few equals and precious few artists of Davis’ stature have the guts to even consider such an undertaking.

Contents

A Miles Fusion Classic from 1972 — A new bold statement for Miles Davis!

On The Corner/New York Girl/Thinkin’ Of One Thing and Doin’ Another/Vote For Miles; Black Satin; One and One; Helen Butte/Mr. Freedom X.

Miles Davis, Trumpet; Herbie Hancock, Keyboards; Chick Corea, Piano; John McLaughlin, Guitar; Dave Liebman, Soprano Sax.