Miles Davis On the Corner on Numbered Limited Edition Hybrid SACD from Mobile Fidelity
Get Down and Make It Funky: Miles Davis' Groundbreaking On the Corner Focuses on the Groove and Bottom End
Mastered From the Original Master Tapes: Mobile Fidelity Hybrid SACD
Reveals Multiple Levels of Rhythm, Visceral Bass, and Pioneering
Production Techniques In Transparent Fashion
Exotic, Bold, Streetwise: Spirited 1972 Album Embraces Davis'
"Jungle Sound" With Percussive Foundations, Trance Loops, and
Miles Davis' boundlessly influential On the Corner was
so far ahead of its time upon release in 1972, the jazz cognoscenti
rejected its groundbreaking concoction as middling in nature. Yet time
has a way of righting wrongs and shifting views by adding needed context
and perspective to visionary ideas, music, and approaches – the likes
of which fill Davis' boldest and most controversial – undertaking. Designed to bring the focus back on the groove and bottom-end frequencies, the funk-loaded On the Corner revolutionized jazz.
It also set new standards for record production, presaging remixing and
electronica by more than a decade. And the work has never sounded more
Mastered from the original master tapes, Mobile Fidelity's numbered limited-edition hybrid SACD of On the Corner exposes the internal mechanisms, free-associated playing, and then-unmatched studio techniques in vivid audiophile-grade sonics.
The low end, crucial to every composition here, is both heard and felt,
with locked-in bass lines and low-range percussion conveyed as taut,
solid, and visceral passages. You can even discern the multiple levels
of rhythm Davis employed on complex tracks such as "Black Satin," as On the Corner stands as his first effort to use overdubbing and multiple tape machines.
New degrees of spaciousness and airiness – equally important to the musique concrete arrangements – give the impression Davis
and Co.'s creations float in space. Instruments are portrayed in
three-dimensional manners, rhythmic loops retain tonal purity, and horn
solos skitter across an extra-wide soundstage that takes listeners into
Columbia's Studio E. Mobile Fidelity's digital version captures Teo Macero's innovative production – and the trumpeter's cutting-edge aural collages – in definitive fashion.
Heavily inspired by Sly and the Family Stone, On the Corner portrays street vibes and remains Davis' blackest-sounding record.
The conscious attempt to connect with youthful audiences tapped into
rock and funk is evident not only on the colorful cartoon cover art
depicting hot-pants and zoot-suit revelers, but in the music's emphasis
of recurring drum and bass grooves. Distinct from Davis' earlier
fusion experiments, the record's long-misunderstood set dials back
improvisation in favor of beats, loops, and atmospherics that generate
trance-like effects. While Davis utilizes his band for core duties – Chick Corea and Herbie Hancock prominently figure – he also relies on an all-star cast of sidemen for concentrated soloing and additional support.
With rhythm providing the basic foundation, other notes fall into place, with their positioning steered by Macero and Davis' editing-room techniques. Looking to the manipulation-based work of Karlheinze Stockhausen and teaming with Stockhausen disciple Paul Buckmaster, Davis re-imagines what grooves constituted and could accomplish throughout On the Corner.
The shapes of the songs become completely transformed as they progress.
Faint melodies, spacey chords, chunky riffs, wah-wah fills, and
repeated motifs bounce in and out of a sonic funhouse that wouldn't be
out of place at a Harlem block party. Exotic, intrepid, and filled with
Davis' "jungle sound," On the Corner remains daringly hip more than four decades later.
Secure your lowest-numbered copy of this collectable SACD from Music Direct today!
Miles Davis On the Corner Track Listing:
1. On the Corner/New York Girl/Thinkin' One Thing and Doin' Another/Vote for Miles
2. Black Satin
3. One and One
4. Helen Butte/Mr. Freedom X