Record Label: 8th Records
The 1970s marked a period of intense experimentation and innovation for composer / trumpeter Miles Davis. Beginning with 1970's Bitches Brew, Davis embarked on album after album of exploration of the boundaries of jazz music. 1972's On The Corner was one such album, inspired by the works of free jazz saxophonist Ornette Coleman and electronic composer Karlheinz Stockhausen, as well as the rhythms of a brand new, burgeoning subgenre of rhythm and blues music: funk. Davis was backed by a legendary collection of musicians, including Herbie Hancock, Chick Corea, Michael Henderson, Bennie Maupin, John McLaughlin, and many more. The end result was a dense, constantly shifting and pulsing haze of jazz sounds, frequently walking a line between progressive and minimalist, which made heavy usage of then-revolutionary electronic sound processing and tape-looping.
On The Corner was not well received in its time, was ignored by commercial audiences, and was roundly panned and lambasted by critics. It would go on to become one of Miles Davis' worst-selling releases. In time however, the album would take on new life as a major influence on the development of new subgenres of music such as acid jazz, electronic drum n' bass music, ambient post-rock, and left-field post-punk. The album's production techniques and sounds would also be co-opted towards the development of hip-hop music during the 1980s, particularly in the usage of looping and sampling. Critics have since re-evaluated On The Corner as one of immense importance and influence, and is highly rated among Davis'catalog as a lost classic.