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Genre: Jazz Music
Media Format: Compact Disk
Rating:
Release Date: 1-AUG-2000 | | | Product Details: | | | Audio CD Release Date:
| August 01, 2000 | | Studio:
| Sony | | Number Of Discs:
| 1 | | Format:
| Original recording reissued, Original recording remastered | | Average Customer Rating:
|  based on 87 reviews |
| | | Track Listing: | | | 1. | On the Corner/New York Girl/Thinking of One Thing and Doing Another - Miles Davis, | | 2. | Black Satin - Miles Davis, Davis, Miles | | 3. | One and One - Miles Davis, | | 4. | Helen Butte/Mr. Freedom X - Miles Davis, Davis, Miles | |
| | | Customer Reviews: | |
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 Oozing Funk !!!Apr 02, 2010
A masterpiece of art - funky , funky , funky , when i play this album i want to dance around the room and wish i was in NYC in the 1970's - Miles yet again pulls it off like no one else in Jazz - a genius at work , another must buy album from the great man = 10/10
classic/goodDec 21, 2009
In and of itself, On The Corner is a classic album. Miles here got a big group--funk and straight jazz guys--and flattened his music. He used concepts from both Sly Stone and Stockhausen, reducing the frame of the music, and packing the frame with lots of tablas, saxes, guitars, and his wha wha turmpet.
Reactions were bad in 1973- jazz people did not like funk and funk people did not understand the abstract games Miles was playing with their music--but On The Corner is now pretty much recognized as a landmark.
The problem is that the arrival of The Complete On the Corner Sessions contains this music, and much more. A lot on that set shows that these sessions--and this music, was much bigger in scope than what came out in 1973. (Why no double album?) There are sonic experiments and funk that is fatter than what made On The Cornor.
If you are new to Miles and just want to find out what, first, all the 1973 fuss was and, second, why this album is a referance point, than, sure, this is where to stick in your toe.
But if you have already fallen in love with the black magus--and this will not take long--you really do need the whole set. Some of the Miles sets you can scrape by without owning.
But not this one.
Hey, give your copy of the single album to your kids. Teach them before they can walk
A kick in the gutDec 18, 2009
Miles Davis kicked all his critics goodbye with this album. Why is On The Corner so controversial? Miles had already been fully dealing with groove and madness for a few years... so what the hell happened? Well, let's see...
Recorded over three sessions in June/July 1972 and again produced by Teo Macero, Miles employed nothing less than fifteen musicians! John McLaughlin, Herbie Hancock, Jack DeJonette, Chick Corea, Michael Henderson to name but a few. He also made use of Indian instruments - sitar and tabla - allowing all kinds of sounds come from all over the place in a trance which relied heavily on the incessant beat of the drums and the strength of the bass.
On The Corner is such an original album that many people didn't - and still don't - know what to make of it. Where had everything gone? Where was the logic? The beginning? The end? There was nothing in sight, just this thick mass of sound which made you dead anxious.
Thus this is an album where Miles Davis decided to offer the whole music scene the f word and break his chains with the past once and for all. Truly outstanding and intact to this day. From the advantage point of 2009, one can fully see what he meant: a hard rain is gonna surely fall so we might as well have our fun before it's too late.
Have I answered my initial question? Probably not. Guess I got confused. So, if you are new to it, it's up to you to get it and let its massive weight of sound hit you. Let it fill the air around your room like a tidal wave and be prepared to love it or hate it...
The most aggressive album in Davis' careerAug 13, 2009
After the release of Kind of Blue, Miles Davis was a legend. Kind of Blue was such a huge innovation, he would have already been a legend, and his fans wanted more of Kind of Blue. However, Miles Davis was not interested in living off of something that by now, had gone down in popularity. Miles in the Sky was where he started using electric instruments, In a Silent Way was where he first did an album mixing jazz with rock, with Bitches Brew and A Tribute to Jack Johnson, he continued moving more into that direction. As his older fans continued to be horrified, and some probably even burned their copies of Kind of Blue, he had now shown that this was where he was now. Now, it wasn't a new attempt into a new direction, this was where he was.
He did try new things with this album, and it was probably the one album that was the most disliked of all of his albums when it came out. However, On the Corner is the most aggressive album, and it has probably the nicest groove. This album is so different from the albums that he did in the fifties and during the early and mid-sixties, that you won't believe that it's by the same person who released Miles Smiles just seven years earlier. It was also pretty different from his more recent albums. This album was the final album that he actually recorded for Columbia records, and I although I can't say that he saved the best for last, I can say that he had gone through several different directions, and this was a great farewell from Columbia records.
1 of 1 found the following review helpful:
Noisy but far from noise, funky but far from predictable, of its time but futuristicJun 09, 2009
It has become a trope to say that ON THE CORNER is Miles Davis' most forward-looking album in spite of its lack of sales when it was released in 1972. It's an electronics extravaganza, with Miles combining his trumpet with a wah-wah pedal, Herbie Hancock's piano recorded through a ring modulator, and producer Teo Macero liberally cutting up and rearranging the recording sessions and putting a host of special effects on top.
I'm sure many listeners will feel a tinge of anxiety over who exactly is responsible for the final product, as Macero evidentally worked his magic without consultation with Miles, and some of the great bandleader's musicians reportedly didn't recognize their own work when the album came out. Nonetheless, get over your authorship hangups straightaway, because the album is good listening. At this point Miles wanted his bassist Michael Henderson to hold down a strict funk groove, centering the music in a way uncharacteristic of jazz even though every other musician is heavily improvising. Then there's the addition of a sitar, tabla drums and bass clarinet to Miles' troupe, creating a far out mix of sounds. Miles' trumpet is less brash and in-your-face than on other recordings of the fusion era, and it sounds more like he's gently guiding his virtuoso bandmates to show their stuff.
Even today a lot of listeners put the record on and instantly conclude that it is noise. I think much of this is due to the track order. Starting off with the long and heavy medley "On the Corner/New York Girl/Thinking of One Thing and Doin' Anyother/Vote for Miles" just gives you an intimidating blast. I'd recommend instead skipping straight to the second track, "Black Satin", which at 5:20 is more easily digestible and immediately lays out all the technological effects that made the album something special.
Though ON THE CORNER foretells to some extent the rise of house and electronica, it is dated in some ways. Some of Macero's edits, especially those moving instruments around in the stereo space, are clumsy. And the 1969 BREW has, I think, the better musicianship. Nonetheless, ON THE CORNER is a strong effort and an album that deserves to be heard even by those contemporary audiences that consider jazz antiquated.
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