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On The Corner Original recording reissued, Original recording remastered

4.6 out of 5 stars 17 customer reviews

Price: £4.20
Only 8 left in stock.
Dispatched from and sold by nagiry.
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Amazon's Miles Davis Store


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Frequently Bought Together

  • On The Corner
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Total price: £14.18
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Product details

  • Audio CD (7 Aug. 2000)
  • Number of Discs: 1
  • Format: Original recording reissued, Original recording remastered
  • Label: Columbia Legacy
  • ASIN: B00004VWAF
  • Other Editions: Audio CD  |  Audio Cassette  |  Vinyl  |  MP3 Download
  • Average Customer Review: 4.6 out of 5 stars  See all reviews (17 customer reviews)
  • Amazon Bestsellers Rank: 43,332 in Music (See Top 100 in Music)

Track Listings

Disc: 1

  1. On The Corner
  2. New York Girl
  3. Thinkin' One Thing And Doin' Another
  4. Vote For Miles
  5. Helen Butte
  6. Mr. Freedom X
  7. On The Corner/New York Girl/Thinkin' Of One Thing And Doin' Another/Vote For Miles
  8. Black Satin
  9. One And One
  10. Helen Butte/Mr. Freedom X

Customer Reviews

4.6 out of 5 stars
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Top Customer Reviews

Format: Audio CD
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.
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Format: Audio CD Verified Purchase
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.
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I am a big Miles fan. I think I probably own more albums and bootlegs by Miles than by anyone else. This one eluded me somehow for far too long. This is seriously funky, repetitive, urban, carnal grooving. The album sounds amazing, the production is truly astounding. I can't say I like it as much as 'In A Silent Way', but it's definitely up there with the best of Miles' output.
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Format: Audio CD
I was put off getting this album until quite late on in my Miles Davis collecting. The reason must be pretty clear to any who have read about his music in general and the critical reception of this album in particular. Bitches Brew may have alienated jazz critics like Stanley Crouch (see Miles Electric: A Different Kind Of Blue [DVD] [2004]) as his music has certainly not straight jazz by that time; more jazz/rock fusion with an emphasis on rock and jazz critics were simply not the people to be asking; they had no frame of reference to measure it against.

1970-71 saw Miles gathering a much bigger audience for his music, playing concert venues rather than jazz clubs. He had played the 1970 Isle of Wight Festival to 600'000 people (as featured in Miles Electric, mentioned above) but Miles was becoming concerned that he was losing his black audience. His response to that anxiety was On the Corner. If the jazz critics hated Bitches Brew, it seemed that everybody hated On the Corner. The cover sets it up, very 'Street' and aggressively so. The music is uncompromisingly rhythmic and dense. The soloing instruments are kept back amongst the pulsing rhythm and even to sympathetic ears it does, even today, sound a bit unrelenting on first listen.

Time, however, has been very forgiving to this album. The gradual catching up that various forms of popular music have done in the past 40 years (but not jazz) has meant that current audiences are far more receptive.
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