All selections are BMI. Gatefold. on spine: K on front: on Labels: PC Tracks 1 to 4 recorded in New York, June 1, Tracks 5 to 8 recorded in New York, June 6, ;/5(13). Limited gm vinyl LP pressing of this album from the Jazz great. Music on Vinyl. 1 On the Corner () 2 New York Girl () 3 Thinkin' One Thing and Doin' Another () 4 Vote for Miles () 5 Black Satin () 6 One and One () 7 Helen Butte () 8 /5(). On the Corner is a studio album by American jazz trumpeter, bandleader, and composer Miles glamandiadelnotas.changotesupilontinatoliwhitda.co was recorded in June and July and released on October 11 of the same year by Columbia glamandiadelnotas.changotesupilontinatoliwhitda.co album continued Davis's exploration of jazz fusion, and explicitly drew on the influence of funk musicians Sly Stone and James Brown, the experimental music of Genre: Jazz-rock, jazz-funk, avant .
Segments of tabla and sitar provide a change of mood and pace. Aside from 'Black Satin,' most of the material consists of intense vamps and rhythmic layering. Compared to Davis' previous recordings, On the Corner found the musician playing the trumpet scarcely,  instead often playing keyboards. The album cover featured an illustration by cartoonist Corky McCoy depicting ghetto caricatures, including prostitutes, gays, activists, winos, and drug dealers.
Davis later admitted to doing this intentionally:  "I didn't put those names on On the Corner specially for that reason, so now the critics have to say, 'What's this instrument, and what's this? I'm not even gonna put my picture on albums anymore. Pictures are dead, man. You close your eyes and you're there.
On the Corner was panned by most critics and contemporaries in jazz; according to Tingen, it became "the most vilified and controversial album in the history of jazz" only a few weeks after its release. It means nothing; there is no form, no content, and it barely swings. Regarding the appeal its music had for rock critics, he praised "Black Satin" but expressed reservations about the absence of a "good" beat elsewhere on the album.
Gleason found the music very "lyrical and rhythmic" while praising the dynamic stereo recording and calling Davis "a magician". He concluded by saying "the impact of the whole is greater than the sum of any part. The album's commercial performance was as limited as that of Davis's albums since Bitches Brewtopping the Billboard jazz chart but only peaking at in the more heterogeneous Billboard Paul Tingen wrote that "predictably, this impenetrable and almost tuneless concoction of avant-garde classical, free jazzAfricanIndian and acid funk bombed spectacularly, leading to decades in the wilderness.
As far as the jazzers were concerned, it completed Davis's journey from icon to fallen idol. Despite remaining outside the purview of the mainstream jazz community, On the Corner underwent a positive critical reassessment in subsequent decades; according to Tingen, many critics outside jazz have characterized it as "a visionary musical statement that was way ahead of its time".
On the Corner was featured on the six-disc box set The Complete On the Corner Sessionsreleased in and featuring previously unreleased recordings from Davis' s electric period. Reviewing the box set in The Wirecritic Mark Fisher wrote that "[t]he passing of time often neutralises and naturalises sounds that were once experimental, but retrospection has not made On the Corner ' s febrile, bilious stew any easier to digest. You could call it punk.
Fact named On the Corner the 11th best album of the s,  New York Girl - Miles Davis - On The Corner (Vinyl Pitchfork named the album the 30th best album of that decade.
Szwed also wrote of the album in The Wire :. Jazz musicians hated it, critics bemoaned Miles's fall from grace, and since Columbia failed to market it as a pop record, it died in the racks. Even now, when Davis's jazz rock recordings are being reissued to great acclaim, On the Corner remains lost in time.
Still, this record might well be the most radical break with the past of all of Davis's many breaks. Dense with rhythm and conceptually enriched with noises, his trumpet's role mixed down to that of a journeyman, the melody reduced to recycled Minimalist patterns, Davis broke every rule enforced by the jazz police. Yet today Despite the record's influence on numerous artists outside of jazz, "the mainstream jazz community still won't touch On the Corner with a barge pole", according to Tingen, "and whatever remains of jazz-rock continues to be too deeply in thrall of the pyrotechnics aspect of such s bands as Mahavishnu Orchestra to take any notice of On the Corner ' s repetitive funk, which was the antithesis of virtuosity.
Note: Original presses listed each track with an individual runtime  ; later editions combined the first four tracks and the final two tracks, listing only four runtimes. From Wikipedia, the free encyclopedia.
This article is about the album by Miles Davis. For the film, see On the Corner film. Miles Davis. Jazz-rock jazz-funk avant-garde psychedelic funk. Miles: The Autobiography. Simon and Schuster. Retrieved August 22, Internet Archive. Jazz Times. Archived from the original on October 11, Retrieved February 11, Hal Leonard Corporation. Soft Skull Press. Nashville Scene. Da Capo Press. The Musical Quarterly Miles Davis first heard Stockhausen's music inand its impact can be felt in Davis's recording On the Cornerin which cross-cultural elements are mixed with found elements.
Retrieved March 20, Boys: Pet Sounds mono Analogue Pro. Boys: Surfer Girl stereo Analogue Pro. Teal Trib. Dragon 96 D2D: Syd Lawr. Orch: Big B. Submitted by azmoon on Wed, What about all the MFSL issues? And no Bill Evans? I live in Europe. Can these recordings be bought on ye ol' continent also? Buying in the States and paying import duties is such a big let down. I guess it depends on what items you order and where you are. In any case you always get stunning high quality service and perfect packaging!
If so, not cool. But if you came before me, then fine. MalachiLui I had no idea, totally unintended, sorry if it caused any issues. I'm sure we're not the only "SoundDoctor" on the web ; I can change this user name, it's not important for me, never used it before, the name just popped in my head when I registered here.
I also sent you an email about this so we can figure it out if you can't change the username on your end. Hmmm nothing more humiliating then being reprimanded by a petulant self aggrandizing 12 year old!
I was able to work things out with SoundWave - we're good now. Michael - in the age Donald Trump you should be ashamed for encouraging this kind of mean spiritedness. Feel free to block me! Another great shop in Europe is www. They are less specialized in audiophile records, but they have a very good selection.
Plus shipping costs are low. The site is not as well documented as Vinyl Gourmet, sometimes it can be tricky to identify which version it is. My system is pretty basic: a TubeCube 7 a 3. I don'use a sub. No equaliser either. So it pretty much plays the music as it was recorded. From time to time I come across recordings with remarkable, pleasant quality in the low frequencies. Probably my best sounding record is Neil Young's This note 's for you, especially the tracks Coupe de ville, Can't believe your lyin' and One thing have formidable bass.
On vinyl it is even better than when streaming. I'm not saying this record should be in the Top I'm just saying it is the best sounding vinyl record in my humble collection. Why don't all records sound so fine? What makes this vinyl disk so special? My record is an original pressing dating back toby Reprise Records. I bought it when it came out, as far as I remember. It was manufactured in Germany. I made the effort to write down the scribblings on the vinyl.
This is what it says:. Perhaps there is something in the codes above that explains why this record sounds so good? If so, please let me know. Fabulous performance and sound. Thank you Micahel. I'm often a bit gun shy on current re-issues after having been burned on a few incredibly aweful pressings from dubious labels. Your list will be most helpful, in fact it will by my "shopping list" of sorts for a while.
Great list Michael. I have found that everything mastered by Kevin Gray at Coherent is exceptional, particularly the Analogue Productions Prestige reissues. I did not realize that the Van reissues were AAA - it would be really nice if someone could come up with a master list as the vast majority of reissues, LP presume, are from digital sources.
Great List I bought the regular Blue Note reissue, and I went through 4 copies that were all new They look like some kid LP them since the 60s and took nominal care. Anyway, I really think that album is amazing, but I'm looking forward to getting a bunch of those. I know it isn't in print any longer, but do you feel the Intervention version is as good or better?
Example- Blue Train. It does sound wonderful though. Watch a two hour movie chick flick with my wife or a 2 hour you tube video on records? Tommy sounded fantastic! I'd love to have another 2 hour video on random records from your collection and the stories behind them. Thank you so much. Your comments on video in regards to the microphone drop during the Neil Young song reminded me of your review of the brilliant Vandersteen Sevens:. At one point, in the right channel, someone knocks over a microphone stand.
When the song ended, John Atkinson, who'd Album) this track many times but had never before heard the noise, asked about it. I'd known about that mistake and had heard it through other speakers, but through the Sevens it was obvious, unmistakable, almost three-dimensional.
Unfortunately, that Costello title has been out of print for about 3 years. It is fantastic, however. Really looking forward to watching this. BUT it would be great to see what your classical choices would be.
I know you don't consider yourself to be a "classical expert", but who cares? In fact that is precisely the reason your opinions would be interesting. Obviously there are the usual suspects Living Stereo, Mercury -- and I happen to prefer the Classic Records reissues to the AP versions but maybe there are some less obvious ones too.
So I finally watched this -- the 2 hours flew by -- and clearly this is going to cause serious damage to my wallet, and saw that you are going to do a classical list. Looking forward to what you come up with. I do have a question re. How do you think the two compare?
Michael, first thank you for the list and all your other contributions. But I have to disagree on one item. The reason is that the bass is basically inaudible. And it is important to the music. In the cd reissue, the bass sounds great. So unfortunately I traded in my analog spark copy and got a European one which was most likely made from the cd, because again the bass is great.
Is it pure analog? But being faithful to the original medium and artist intentions should NOT mean being faithful to the mistakes of the past as well. After listening to the Overture from Tommy as played through your vinyl reproduction system, I then listened to every digitally mastered version of the original Overture that I own.
The digital versions, including the "high resolution" ones, all sounded very similar to each other. None sounded like the vinyl playback. Since all these were played back through the same electronics at the same measured level - at least as close as I could make it with the Faber Acoustic SoundMeter app in my iPad - I have to conclude that the mastering is different between the original vinyl and the more recent digital versions.
I can't believe that as good as Mikey's set-up is, it can perform magic and put information, especially the right information, back into playback. It can only color and distort the original or, more likely, minimize any degradation of the sound available on the disc. The same is true for the gear and the process used to add the music to the video, LP. There's obviously more and better musical information on the vinyl. QED, MF! The MF does not represent Michael's initials, although certain people might argue the point.
The vinyl plain sounds better. By better, I mean more realistic. At least realistic in the context of a studio recording. I'm not pointing a finger at any technology here. But, I do think that it shows, again, how really good pieces of musical art got "re-interpreted" when they were digitized for sale on CD and so on.
Maybe the reinterpretation wasn't so great. So we all lost a couple generations of music? What's the big deal? I New York Girl - Miles Davis - On The Corner (Vinyl it's important to remember that for most people in the recorded music chain, this is all just a product like shampoo, breakfast cereal, or prescription drugs.
That all tells me that the best source of high quality archived musical art is vinyl. Tape may be better, but it degrades at a faster rate than vinyl and isn't very accessible or available. Digital technology may even be superior to what's possible with vinyl, but garbage in, garbage out as they say. If you want to compare Tommy on vinyl to a digital release, try using one of the CDs released in the s. Before the mids, CDs were mastered with as much dynamic range as possible to show off the new technology.
It still won't sound as good as the vinyl, but it will be a lot closer. I think one of my CD's is from before It's been ripped onto a hard drive, so I'd have to go look for the actual CD and case to be sure. Digital playback can suck in many ways and the overall development hasn't really been pursued to the degree necessary for best performance.
Perhaps because this music never flaunts its genius. It lures listeners in with the slow, luxurious bassline and gentle piano chords of "So What. Yet Kind of Blue is more than easy listening. It's the pinnacle of modal jazz -- tonality and solos build from the overall key, not chord changes, giving the music a subtly shifting quality.
All of this doesn't quite explain why seasoned jazz fans return to this record even after they've memorized every nuance. They return because this is an exceptional band -- Miles, Coltrane, Bill Evans, Cannonball Adderley, Paul Chambers, Jimmy Cobb -- one of the greatest in history, playing at the peak of its power.
As Evans said in the original liner notes for the record, the band did not play through any of these pieces prior to recording. Davis laid out the themes before the tape rolled, and then the band improvised. The end results were wondrous and still crackle with vitality. Kind of Blue works on many different levels. It can be played as background music, yet it amply rewards close listening.
It is advanced music that is extraordinarily enjoyable. It may be a stretch to say that if you don't like Kind of Blue, you don't like jazz -- but it's hard to imagine it as anything other than a cornerstone of any jazz collection. Throughout a professional career lasting 50 years, Miles Davis played the trumpet in a lyrical, introspective, and melodic style, often employing a stemless Harmon mute to make his sound more personal and intimate.
But if his approach to his instrument was constant, his approach to jazz was dazzlingly protean. To examine his career is to examine the history of jazz from the mid-'40s to the early '90s, since he was in the thick of almost every important innovation and stylistic development in the music during that period, and he often led the way in those changes, both with his own performances and recordings and by choosing sidemen and collaborators who forged new directions. It can even be argued that jazz stopped evolving when Davis wasn't there to push it forward.
Davis was the son of a dental surgeon, Dr. Miles Dewey Davis, Jr. Louis after the family moved there shortly after his birth. He became interested in music during his childhood and by the age of 12 began taking trumpet lessons. While still in high school, he started to get jobs playing in local bars and at 16 was playing gigs out of town on weekends. He enjoyed a personal apotheosis injust after graduating from high school, when he saw and was allowed to sit in with Billy Eckstine's big band, who was playing in St.
The band featured trumpeter Dizzy Gillespie and saxophonist Charlie Parker, the architects of the emerging bebop style of jazz, which was characterized by fast, inventive soloing and dynamic rhythm variations. It is striking that Davis fell so completely under Gillespie and Parker's spell, since his own slower and less flashy style never really compared to theirs.
Scorned by critics at the time of its release, Miles Davis' album On The Corner is now seen as a forerunner of Post Punk, Hip Hop, Drum and Bass and Electronic music, thanks to its revolutionary recording techniques.. Miles wanted to reconnect with a younger audience, who had forsaken him for Rock and Funk, and the experimental On The Corner was his answer. The album On The Corner was completed by other sessions that Teo Macero put into shape, and it would become a cult album for the avant-garde of ambient and electro-jazz. Original issue: Columbia LP C on October 11, Producer: Teo Macero Engineers: Stan Tonkel All compositions by Miles Davis. June 1, (a). Find album reviews, stream songs, credits and award information for On the Corner - Miles Davis on AllMusic - - Could there be any more confrontational sound in.
This release is one of Miles Davis's funkiest plugged-in recordings. The list of performers is impressive: heavy hitters (and usual suspects) include Chick Corea, Herbie Hancock, Jon McLaughlin, and more. Electric and wah-wah guitar, African drumming, and sunken Funk set the stage for groove-based music to follow.
Aug 01, · Bags’ Groove () In the end, Miles Davis would fascinate jazz, rock and classical fans alike. But in the s he had been a teenage trumpet hopeful partnering Charlie Parker and by FACTORY SEALED VINYL LP Miles Davis – On The Corner Label: Columbia – PC , Columbia – KC Format: Vinyl, LP, Album, Reissue, Gram Country: US Released: Genre: Jazz Style: Fusion, Jazz-Funk Tracklist A On The Corner A New York Girl A Thinkin' One Thing And Doin' Another A Vote For End date: Aug 25,
The album is brilliant and the only problem I had with the original release on LP was the length; I wanted more music! The dilemma by placing too much faith in the musings of music critics throughout the electric period of Miles was the seemigly placement of each album in a vaccum, as if the artist wasn't building on a concept/5().
This release is one of Miles Davis's funkiest plugged-in recordings. The list of performers is impressive: heavy hitters (and usual suspects) include Chick Corea, Herbie Hancock, Jon McLaughlin, and more. Electric and wah-wah guitar, African drumming, and sunken Funk set the stage for groove-based music to follow. The album is brilliant and the only problem I had with the original release on LP was the length; I wanted more music! The dilemma by placing too much faith in the musings of music critics throughout the electric period of Miles was the seemigly placement of each album in a vaccum, as if the artist wasn't building on a concept/5().
The Complete On the Corner Sessions is a posthumous box set by American jazz musician Miles Davis, released in the US on September 25, by Columbia Records and in the UK on September 29 on Legacy Recordings. Like other Davis box sets, the included material is taken from a wider chronology of sessions than the dates which actually produced the titular album.
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