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★★★★★ 4.5 points (19 reviews)


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  • Issued : 23 Nov 2005

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Item Details

Genre : Jazz Catalogue Number : SICP845
Format : CD Label : Sony Music
Issued : 23 Nov 2005 Item sourced from : Japan
Number of Discs : 1
Other : Reissue

On The Corner

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HMV Review

Could there be any more confrontational sound in Miles Davis' vast catalog than the distorted guitars and tinny double-timing drums reacting to a two-note bass riff funking it up on the first track from On the Corner? Before the trumpet even enters the picture, the story has been broken off somewhere in the middle, with deep street music melding with a secret language held within the band and those who can actually hear this music -- certainly not the majority of Miles' fan base built up over the past 25 years. They heard this as a huge f*ck you. Miles just shrugged and told them it wasn't personal, but they could take it that way if they wanted to, and he blew on his trumpet. Here are killer groove riffs that barely hold on as bleating trumpet and soprano sax lines (courtesy of Dave Liebman on track one) interact with John McLaughlin's distortion-box frenzy. Michael Henderson's bass keeps the basic so basic it hypnotizes; keyboards slowly enter the picture, a pair of them handled by Herbie Hancock and Chick Corea, as well as Ivory Williams' synthesizer. Finally, Colin Walcott jumps in with an electric sitar and there are no less than five drummers -- three kits (Al Foster, Billy Hart, and Jack DeJohnette), a tabla player, and Mtume. It's a four-tune suite, On the Corner is, but the separations hardly matter, just the shifts in groove that alter the time/space continuum. After 20 minutes, the set feels over and a form of Miles' strange lyricism returns in Black Satin. Though a tabla kicks the tune off, there's a recognizable eight-note melody that runs throughout. Carlos Garnett and Bennie Maupin replace Liebman, Dave Creamer replaces McLaughlin, and the groove rides a bit easier -- except for those hand bells shimmering in the background off the beat just enough to make the squares crazy. The respite is short-lived, however. Davis and band move the music way over to the funk side of the street -- though the street funkers thought these cats were too weird with their stranded time signatures and modal fugues that begin and end nowhere and live for the way the riff breaks down into emptiness. One and One begins the new tale, so jazz breaks down and gets polished off and resurrected as a far blacker, deeper-than-blue character in the form of Helen Butte/Mr. Freedom X, where guitars and horns careen off Henderson's cracking bass and Foster's skittering hi-hats. It may sound weird even today, but On the Corner is the most street record ever recorded by a jazz musician. And it still kicks. ~ Thom Jurek, Rovi

Credits

Al Foster(Drums),  Billy Hart(Drums),  Carlos Garnett(Sax (Soprano)),  Carlos Garnett(Sax (Tenor)),  Cedric Lawson(Organ),  Chick Corea(Keyboards),  David Creamer(Guitar),  David Kreamen(Guitar),  David Liebman(Sax (Soprano)),  David Liebman(Sax (Tenor)),  Don Alias(Drums),  Don Alias(Percussion),  Harold "Ivory" Williams(Keyboards),  Herbie Hancock(Keyboards),  Herbie Hancock(Synthesizer),  Jack Dejohnette(Drums),  James "Mtume" Forman(Percussion),  James Mtume(Percussion),  John Mclaughlin(Guitar),  Michael Henderson(Guitar (Bass)),  Miles Davis(Trumpet),  Reggie Lucas(Guitar),  Teo Macero(Saxophone),  William Hart(Drums),  William Hart(Percussion),  Bennie Maupin(Clarinet (Bass)),  Chick Corea(Fender Rhodes),  Herbie Hancock(Fender Rhodes),  Badal Roy(Tabla),  Collin Walcott(Sitar),  Collin Walcott(Sitar (Electric)),  Khalil Balakrishna(Sitar (Electric)),  Mark Wilder(Engineer),  Russ Payne(Engineer),  Stanley Tonkel(Engineer),  Teo Macero(Producer),  Allen Weinberg(Art Direction),  Art Maillet(Photography),  Bill Milkowski(Liner Notes),  Bob Belden(Liner Notes),  David Liebman(Liner Notes),  Don Hunstein(Photography),  Howard Fritzson(Art Direction),  John Mclaughlin(Liner Notes),  Miles Davis(Composer),  Urve Kuusik(Photography),  Amy Herot(Series Coordinator),  Gary Pacheco(Series Coordinator),  John Jackson(Production Assistant),  Mark Wilder(Digital Remastering),  Mark Wilder(Restoration),  Michael Brooks(Series Coordinator),  Nedra Olds-Neal(Reissue Producer),  Paul M. Martin(Art Coordinator),  Pete Cenedella(Package Coordinator),  Seth Rothstein(Project Director),  Penny Armstrong(Product Manager)

Songs

  •   
    1
    On the Corner/New York Girl/Thinking of One Thing and Doing Another  (19:59)
  •   
    2
    Black Satin  (05:20)
  •   
    3
    One and One  (06:09)
  •   
    4
    Helen Butte/Mr. Freedom X
  •   
    5
    Black Satin
  •   
    6
    One And One
  •   
    7
    Helen Butte
  •   
    8
    Mr. Freedom X

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Customer Reviews

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  • ★★★★★ 

    MISS X  |  埼玉県  |  不明  |  08/November/2010

    このアルバム大好きです。ただ、これから聴こうと思ってる人はまず視聴したほうがいいです。人によっては全く受け付けない人が沢山居そうな感じです。ジャズに妙なこだわりがないほうが素直に聴けるかもしれません。変態リズムが延々と続きます。

    1 people agree with this review

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  • ★☆☆☆☆ 

    武蔵野JAZZくらぶ  |  東京都  |  40year  |  13/July/2009

    いやあ、マイッタ。正直これは分からなかった。どこがいいのか。熱狂的ファンには申し訳ないのですが・・・。マイルスは基本的に50年代〜60年代中期までが好きですが、それ以降のも「ビッチェス〜」はいいと思ったし、「マンウィズザホーン」(これは大好き!)からの復帰以降はリアルタイムで聞いてきました(ちなみに伝説の新宿野外ライブはいまいちでしたが・・・)。ただその間の70年代のいわゆる「電化マイルス」時代を食わずキライでずっと来たので、いまさらながら挑戦し始めた矢先でした。別に「これはジャズではない!」などというつもりはないのですが、「音楽」として好きになれない。「ダンスミュージック」?でもこの複雑なリズムでは日本人は踊れないだろうし・・・。これから「ゲットアップ〜」や「アガルタ」等を順次聞いていく予定ですが、好きになれるか不安です・・・。

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  • ★★★★★ 

    DeDeLaMoco  |  静岡県  |  不明  |  24/May/2009

    Milesの、Jazzの、いや全ての音楽史上の最高傑作。Miles自身の全ての作品の中でも、唯一無二の位置にある孤高の作品。未だにこれを超える音楽に出会ったことはありません。こんな音楽をやり続けたら死ぬしかなかっただろう。

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