On The Corner [Original recording reissued, Original recording remastered]

Upon release this album was reviled, despised and generally detested. Miles Davis who gifted the world with the definitive jazz album 'Kind of Blue' and, instead of resting on critical accolades and commercial success had carried on creating, exploring psychedelic 'acid' rock (the underrated 'Miles in the Sky') blues-rock (The proto-fusion of 'Bitches Brew' or 'In a Silent Way') and even playing his trumpet through a wah-wah peddle to create a Hendrix-inspired feedback effect on 'Live Evil'. THE Miles Davis had finally lost the plot, they speculated; "I love Miles, but this is where I get off" one reviewer grumbled. However, Miles' quest was motivated by art and the desire to create. That purity of vision resulted in the hypnotic, searing blast of sweaty, funky-soul that is 'On the corner' in some ways his most alternative record. Certainly one of his best.

Inspired by the likes of Jimi Hendrix, James Brown and Sly & The Family Stone (who were rocketing up the charts at the time), yet also perturbed at the way young black audiences had largely ignored jazz, Miles began crafting a record that gave these fans the type of music that was selling big and blowing minds, but gave it to them AS jazz, arguably in its original form. He was also about to step away from any significant critical or commercial success for many years, as the record was unfairly blasted by critics and purists. The accusations of 'selling out' mirror those hurled at Dylan circa 'Highway 61' and while that record catapulted its writer to even greater heights, On the Corner doomed Miles Davis for many years.

Interestingly, it wasn't jazz fans that dug this one up from the depths and resurrected it some 15 years or so after release. It was second wave punk bands, 90's Hip Hop DJs and alternative rockers who finally told the world all about this great album.

The album is extremely tightly played, and features much less of Miles' playing than one might expect. It sets about very early on creating a heavy, swirling groove which permeates the entire album and seems to surround you like a tornado of sound. It also utilizes the loud/quiet formula you will find in Sun Ra (Heliocentric world), King Crimson (Crimson King) or other Miles records of the period. It has its own heart beat that tumbles along, buoyed by sounds from seemingly ill-fitting instruments (Jingle bells???) jangly symbols and some exceptional blasts of rock n roll guitar. Very deep and murky, mysterious and otherworldly, alternative and challenging yet instantly familiar and interesting. A great experiment, a wonderful adventure to go on.

It just keeps going, a smorgasbord of sounds. A record that would predate the rise of alternative music by many, many years. Miles was simply further ahead of the curve than even he realized this time. Maybe it isn't strictly speaking a jazz record, but I'd stop before describing it as funk in the purest way or rock, or fusion, or soul...But its all in there, a cultural document with grooves saturated in prevalent thought of the time, civil rights, pan-Africanism (check the congo-ized percussion on 'Vote for Miles') politics (Mr. Freedom X) sex and free expression. While the other jazz players were sticking rigidly to formula and established patterns, Miles was reporting on the world of the time. Sticking his head out of the window, to hear the sound of the street, as he did his entire life.

This record deserves significant re-appraisal. You could start by buying it.

This is a stunning album. From the very first notes it is funky in a way that jazz had never been before.

The drums are metronomic and hypnotic, other instruments chop and play snatches of notes that fit into the spaces between. There is so much going on and yet there is a lot of repetition. It is the musical equivalent of watching a pot boil, but so much more rewarding, obviously, otherwise I'd be in the kitchen getting another pot on the cooker instead of listening to it as I write.

Miles is taking a huge risk here, the music could so easily have fallen flat and become boring, yet, thanks to the supreme skills of all involved it never does. It is a lesson in how to wring the most out of a single chord and how to keep the rhythm interesting without changing the basic beat. The level of improvising that was going on in concert around this time by his band was unique, unless you were in the rhythm section. How these guys could hold the beat for so long without cracking up is a feat of magnificence and self control in itself.

It must have been incredible when it came out almost 40 years ago. Unlike the theme for Shaft and other funky music this has not aged at all. It sounds as fresh and as interesting as anything that has been made in the last 2, 10, 20 years. Certainly I do not think Miles was ever as good as this after he came out of his "retirement" in the mid 70's, sure he could play, but had lost something he never got back.

One of my favourite Miles Davis albums.

If you get the chance, have a listen to the unedited master on disc one of the Complete Sessions box. OK, it isn't a spectacualrly good-value box, containing as it does far too much that is previously available,but this track gives you another angle on the long piece that starts the original album.

I have been using this album to give some of my students a way into jazz and it moves them in a way Kind of Blue or Bitches Brew may not have.