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Miles Davis - The Complete On The Corner Sessions '2007

The Complete On The Corner Sessions
ArtistMiles Davis Related artists
Album name The Complete On The Corner Sessions
Country
Date 2007
GenreJazz
Play time 06:46:56
Format / Bitrate Stereo 1420 Kbps / 44.1 kHz
MP3 320 Kbps
Media CD
Size 936 mb | 2.6 gb
PriceDownload $8.95
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Tracks list

Tracklist:

CD1

1. Miles Davis - On The Corner (Unedited Master) 
2. Miles Davis - On The Corner (Take 4) 
3. Miles Davis - One And One (Unedited Master) 
4. Miles Davis - Helen Butte _ Mr. Freedom X (Unedited Master) 
5. Miles Davis - Jabali 

CD2

1. Miles Davis - Ife (Album Version) 
2. Miles Davis - Chieftain 
3. Miles Davis - Rated X (Album Version) 
4. Miles Davis - Turnaround 
5. Miles Davis - U-Turnaround 

CD3

1. Miles Davis - Billy Preston (Album Version) 
2. Miles Davis - The Hen 
3. Miles Davis - Big Fun_Holly-wuud (take 2) 
4. Miles Davis - Big Fun_Holly-wuud (take 3) 
5. Miles Davis - Peace 
6. Miles Davis - Mr. Foster 

CD4

1. Miles Davis - Calypso Frelimo (Album Version) 
2. Miles Davis - He Loved Him Madly (Album Version) 

CD5

1. Miles Davis - Maiysha (Album Version) 
2. Miles Davis - Mtume (Album Version) 
3. Miles Davis - Mtume (take 11) 
4. Miles Davis - Hip-Skip 
5. Miles Davis - What They Do (Album Version) 
6. Miles Davis - Minnie 

CD6

1. Miles Davis - Red China Blues 
2. Miles Davis - On the Corner _ New York Girl _ Thinkin of One Thing and Doin
Another _ Vote for Miles 
3. Miles Davis - Black Satin 
4. Miles Davis - One and One 
5. Miles Davis - Helen Butte_Mr. Freedom 
6. Miles Davis - Big Fun (Derived from take 3) 
7. Miles Davis - Holly-wuud (Derived from take 3) 
 
 From the opening four notes of Michael Hendersons hypnotically minimal bass
that open the unedited master of On the Corner, answered a few seconds later by
the swirl of color, texture, and above all rhythm, it becomes a immediately
apparent that Miles Davis had left the jazz world he helped to invent forever.
The 19-minute-and-25-second track has never been issued in full until now. It is
one of the 31 tracks in The Complete On the Corner Sessions, a six-disc box
recorded between 1972 and 1975 that centers on the albums On the Corner, Get Up
with It, and the hodgepodge leftovers collection Big Fun. It is also the final
of eight boxes in the series of Columbias studio sessions with Davis from the
1950s through 1975, when he retired from music before his return in the 1980s.
Previously issued have been Davis historic sessions with John Coltrane in the
first quintet, the Gil Evans collaborations, the Seven Steps to Heaven
recordings, the complete second quintet recordings, and the complete In a Silent
Way, Bitches Brew, and Jack Johnson sessions. There have been a number of live
sets as well; the most closely related one to this is the live Cellar Door
Sessions 1970, issued in 2005. 

 What makes The Complete On the Corner Sessions the most compelling of these
many deluxe box set issues is that the album derived from it remains the most
controversial album Davis released. Certainly, there have been many revisionist
theories about On the Corner -- since it proved to be so influential -- by a
number of critics who reviewed it rather savagely upon its original release.
There are many others who still consider it the ultimate sellout by the biggest
figure in the music at the time. Certainly Bitches Brew and Jack Johnson had
their share of naysayers, but the the music that transpired first on In a Silent
Way had its roots in the final second quintet recordings: Water Babies, Miles in
the Sky, and Filles de Kilimanjaro. Bitches Brew took its cue from In a Silent
Way and moved it further, creating more rock-like jams based on vamps and motifs
rather than chord changes. Jack Johnson took it still further, but the notion of
soloing was still a very prevalent thing, as it had been on Bitches Brew. But On
the Corner, while related in terms of groove, is a further extension of
everything from In a Silent Way on; it is worlds away from any of them --
including the material that produced Live-Evil in 1971. The reason is simple
everything came down to only two things: rhythm and sound itself. Serious
questions were being asked in the making of this music, and where it was going
only manifested itself in the travel. How low could you go? How little could you
play? How much space was necessary to get the groove to move and what would you
fill it with?

Davis stripped everything back to endlessly repetitive, circular, and hypnotic
rhythm based on the foundation of then 19-year-old bassist Hendersons minimal
grooves with an array of percussionists along with a trap kit to shore it up
like an impenetrable wall. The use of everything from cowbells and woodblocks to
congas and tables enabled the musicians to dig deep into the territory of beat
and rhythm. Melody was an accident. Chords changes were nonexistent; soloing
contributed to the atmosphere in short bursts and was layered atop caverns of
sound by whatever instrument was called up at the time to play. Otherwise they
laid out, or played some kind of rhythmic pattern to enhance the atmospheric
groove, which was sometimes nearly spiritual, and sometimes downright freaky and
spooky. The groups were ever-changing; 27 musicians played in those 16 sessions,
and individual tracks would employ groups from five to 12 players. The names of
those players are synonymous with the groundbreaking expressions of electric and
acoustic creative jazz and funk in the 70s and 80s: Jack DeJohnette, Badal Roy,
John McLaughlin, David Liebman, Carlos Garnett, Mtume, Collin Walcott, Pete
Cosey, Reggie Lucas, Dominique Gaumont, Bennie Maupin, Sonny Fortune, Khalil
Balakrishna, Al Foster, Lonnie Liston Smith, Harold Ivory Williams, Herbie
Hancock, Chick Corea, Cornell Dupree, Bernard Purdie, Billy Hart, and Don Alias.

When producer Teo Macero dropped the heavily edited 52-and-a-half-minute album
off at Columbia, the stage was set for the jazz world to be shaken to its core.
Macero should be given more credit than as merely producer. Miles may have run
the sessions, but it was Macero who congealed them onto this single LP. It was
he who, along with Davis, had been seduced by the electronic tape manipulation
techniques of Karlheinz Stockhausen as introduced to them by composer and
arranger Paul Buckmaster who wrote his own long liner essay in the accompanying
booklet based on his memories of those sessions. Critics flipped, realizing that
Davis was never coming back to jazz as they knew it. He was not merely tickling
a fancy he entertained after coming under the sway of Jimi Hendrix and Sly
Stone. Davis was not playing for popularity among a younger generation of fans
he was going for broke in changing his entire approach to composing and playing
music. Those scribes who dismissed On the Corner as pop had obviously never
listened to rock, because it sounded nothing like this. On the Corner was
further out than any album ever recorded, and in fact the only one in its league
was Funkadelics Maggot Brain -- and even that was more song-structured than
this. Everything was up for grabs, and even rock fans didnt know how to dig it;
they just did. And yes, on disc six, it is presented as originally issued,
bookended by other tracks.

Bob Belden does a painstaking job of annotating this set from its inception in
1972 until the last studio date in 1975. He offers not only dates and players,
but also disputes findings found in earlier discographies, and notes that in
some instances either nothing took place or the tapes have been lost. He also
reveals how little Miles himself plays on certain sessions, and as to whether a
session was used as an overdub session or a full-on recording date. These six
discs contain six and a half hours of music. There are 12 completely unissued
cuts, and five others that have never been heard in full until now. An example
of how fertile the earliest period was can be found on disc one. That early
session from June 1, 1972, netted the four-part variation on a theme that became
On the Corner/New York Girl/Thinkin One Thing and Doin Another/Vote for Miles
and a second-take version of Black Satin. The second date, five days later,
yielded Helen Butte/Mr. Freedom X and One and One. So whats on the rest?
Process. Material that ended up edited or in full on Get Up with It and Big Fun
is here unvarnished, except for beautiful sound reproduction: Ife, Chieftain,
Red China Blues, Billy Preston, the screaming guitar craziness of McLaughlin on
The Hen, two takes of Big Fun/Holly-wuud, Mr. Foster, Peace, Rated X, He Loved
Him Madly, Turnaround, U-Turnaround, Maiysha, Mtume (two different takes very
different in length and feel), Minnie, Hip Skip, What They Do, etc. Much has
been heard before, but plenty of this music hasnt -- the unheard music makes up
nearly a third of this set. The roots of the jams heard on In Concert: Live at
Philharmonic Hall, Dark Magus, Agharta, and Pangaea are here, as are the moments
from all those bootleg live records from over the years. But back to process.

While Beldens annotations and Buckmasters memories are extremely helpful in the
case of the former and revealing and personal in the case of the latter, it is
Tom Terrells excellent historic essay that brings the real perspective and
offers a way into the sounds themselves. Presented here are ideas that vanish
almost as quickly as they occur, and others -- such as on the extended takes of
On the Corner, Big Fun, The Hen, and Billy Preston -- where they are allowed to
develop slowly and purposefully, with no end in sight. The potential of
musicians means nothing outside this sound lab. They are all basically asked to
surrender their acumen at the door and find a way to play as a unit following
something mercurial and uncertain, sometimes even when it bores them. Textures
that weave Maupins bass clarinet with Carlos Garnetts soprano and tenor
saxophones sound strange next to Dave Creamers guitar, but are all brought into
line with the rhythmic attack of Hancocks piano and Williams organ, with Roy and
DeJohnette cranking on the lines provided by Henderson. The solo space can be
searing with Davis trumpet splatters or Maupins low-register modal inquiries,
McLaughlin sending splintering shards of guitar up against the tower of pulse,
but none of it ever leaves the realm of rhythm for melody or harmonic
convergence. The music, though it stops on the tape, could have gone on for
hours and even days. This is the actual sound of Miles running down the real
voodoo as funk and ambience give way to sonic exploration, and instrumental
largesse happens in the beat, not in the solos.

It took this long to realize just how big an impact On the Corner has had some
35 years later on the music that came after it in electric jazz sure, but
elsewhere too. Listeners still never grasped it entirely and perhaps still wont.
But only now does the possibility even exist to discover not only how this album
came about and what Miles was up to, but what else was percolating in that murky
underground, in the world of sound, unheard and even unimagined until the moment
it made it onto tape with those various groups of players. The bottom line is
that the music on the album itself influenced either positively or negatively
every single thing that came after it in jazz, rock, soul, funk, hip-hop,
electronic and dance music, ambient music, and even popular world music,
directly or indirectly. All of it can be traced to On the Corner. There is a
world here waiting to be discovered. This is a fitting end to Columbias studio
projects of Davis, but more than that, it can be argued that if you would only
allow yourself one of these box sets, especially of the post-In a Silent Way
material, it should be this one, because it will no doubt be listened to most
and arguably leave the deepest impression. It will take you there and keep you
there for as long as you want to stay.

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