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Tuesday, Sep 26 2017 | 21:19
Image: 1612127 The 1970s marked a period of intense
experimentation and innovation for composer /
trumpeter Miles Davis. Beginning with 1970's Bitches
Brew, Davis embarked on album after album of
exploration of the boundaries of jazz music. 1972's
On The Corner was one such album, inspired by the
works of free jazz saxophonist Ornette Coleman and
electronic composer Karlheinz Stockhausen, as well
as the rhythms of a brand new, burgeoning subgenre
of rhythm and blues music: funk. Davis was backed
by a legendary collection of musicians, including
Herbie Hancock, Chick Corea, Michael Henderson,
Bennie Maupin, John McLaughlin, and many more.
The end result was a dense, constantly shifting and
pulsing haze of jazz sounds, frequently walking a line
between progressive and minimalist, which made
heavy usage of then-revolutionary electronic sound
processing and tape-looping.
On The Corner was not well received in its time, was
ignored by commercial audiences, and was roundly
panned and lambasted by critics. It would go on to
become one of Miles Davis' worst-selling releases. In
time however, the album would take on new life as a
major influence on the development of new
subgenres of music such as acid jazz, electronic
drum n' bass music, ambient post-rock, and left-field
post-punk. The album's production techniques and
sounds would also be co-opted towards the
development of hip-hop music during the 1980s,
particularly in the usage of looping and sampling.
Critics have since re-evaluated On The Corner as
one of immense importance and influence, and is
highly rated among Davis'catalog as a lost classic.

A1. On The Corner / New York Girl / Thinkin' One Thing And Doin' Another / Vote For Miles
A2. Black Satin
B1. One And One
B2. Helen Butte / Mr. Freedom X Available from 03.11.2017
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