On the Corner
On the Corneris probably the most controversial recording Miles Davis ever released. Savaged by critics and "fans" alike at the time of its release, this visionary recording has become the cornerstone for any number of progressive musical movements both inside and outside jazz. In fact, in its use of ritualistic trance rhythms derived from Indian classical music and the black inner city, fat, vamping Fender bass lines, and a freely inflected cacophony of electric keyboards, guitars, and percussive colors,On the Cornernot only reflects Davis's fascination with the music of such disparate influences as Sly Stone, James Brown, Ornette Coleman, Paul Buckmaster, and Karlheinz Stockhausen, but anticipates contemporary hip-hop and jungle sounds as well. With his electrified, wah-wah colored trumpet, Davis emulates the phrasing of blues guitarists like Hendrix, while arrangements such as the title track and "Black Satin" delve into collective improvisation, with an avant garde edge over infectious dance beats.--Chip Stern