Miles Davis ‎– The Complete On The Corner Sessions

Label:
Columbia ‎– C6K 06239, Legacy ‎– C6K 06239
Series:
Format:
6 × CD, Compilation, Remastered
Box Set
Country:
Released:
Genre:
Style:

Companies, etc.

Notes

Embossed metal-like PVC case
120 page book.
Small sticker
5" sticker

Recorded Columbia Studio E (& B)(NYC) June 1972- May1975; March 9, 1972; June 1, 1972; June 6, 1972; June 12, 1972; August 23, 1972; September 6, 1972; December 8, 1972; January 4, 1973; July 26, 1973; September 17, 1973; September 18, 1973; June 19, 1974; October 7, 1974; November 6, 1974; May 5, 1975.

Tracks 6-2 to 6-5 from Miles Davis - On The Corner, 1972
Track 2-1 from Miles Davis - Big Fun, 1974
Tracks 2-3, 3-1, 4-1, 4-2, 5-1, 5-2, 6-1 from Miles Davis - Get Up With It, 1974
All other tracks previously unreleased

Total duration 6:47:37

Barcode and Other Identifiers

  • Barcode: 886970623926
  • Matrix / Runout (Disc 1): DIDP-151409 1
  • Matrix / Runout (Disc 2): DIDP-151410 1
  • Matrix / Runout (Disc 3): DIDP-151411 1
  • Matrix / Runout (Disc 4): DIDP-151412 1
  • Matrix / Runout (Disc 5): DIDP-151413 1
  • Matrix / Runout (Disc 6): DIDP-151414 1
  • Other (Label Disc 1): 88697 06239 2-D1
  • Other (Label Disc 2): 88697 06239 2-D2
  • Other (Label Disc 3): 88697 06239 2-D3
  • Other (Label Disc 4): 88697 06239 2-D4
  • Other (Label Disc 5): 88697 06239 2-D5
  • Other (Label Disc 6): 88697 06239 2-D6

Other Versions (3 of 3) View All

Cat# Artist Title (Format) Label Cat# Country Year
88697 06239 2 Miles Davis The Complete On The Corner Sessions(6xCD, Comp, RM + Box) Columbia, Legacy 88697 06239 2 Europe 2007 Sell This Version
none Miles Davis The Complete On The Corner Sessions(6xCDr, Comp, Promo, RM) Sony BMG none UK 2007 Sell This Version
SICP 1581~6 Miles Davis The Complete On The Corner Sessions(6xCD, Comp, RM + Box) Sony Music Labels Inc. SICP 1581~6 Japan 2007 Sell This Version

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fivekidstofeed

fivekidstofeed

June 27, 2018
edited 5 months ago
Wish they would release the previously unreleased tracks as a double vinyl or something.
TimBucknall

TimBucknall

April 1, 2018
With all Sony & Vince Wilburn's interference Bob Belsen deserves praise for getting this out at all, see the thread "turn of the century" on the Steve Hoffman forums for details of Sony's insanity and Bob Beldens stunning original plans for the series. The details in the thread answer much of the criticism of this set that I have seen (non of which concern the quality of the music contained within) and will make you loathe Sony!

Now...how to afford me a copy without selling a kidney
djseansv

djseansv

August 2, 2016
edited 12 months ago
All i could think about with this album title was being really high on LSD standing on this corner intersection off golden gate park not giving a shit where to go, just talking with friends on this street corner. Had been listening to this back then and these jams that seem to go on forver convey that feeling for me.
Babaluma1

Babaluma1

January 28, 2015
The unedited masters of the tunes On The Corner, One and One and Helen Butte / Mr. Freedom X have now replaced the original On The Corner album as the tracks I listen to when I want a bit of funk infused Miles from this era. While On The Corner is a masterpiece in it's own right and for the time a masterwork of editing and looping by Teo Macero (Truly, along with dub pioneers like King Tubby, this is the birth of today's groove driven remix, re-edit culture) hearing the full tracks gives an insight into the number of ways this music could have been condensed and reworked and expands the understanding of this endlessly fascinating project as well as showing the skill of the individual voices whose playing was largely subsumed under the loops and textures of the final edits.

There has been some criticism of how Macero handled this work, heightened by the release of albums like this with full length takes and comments by Bill Laswell during interviews to promote his Panthalassa remix project. Frankly I find this comments misguided, first of all it was not like Miles did not have any say in the final result, he would not have endorsed it if he did not feel the edits represented what he wanted, and secondly people should remember that engineers simply did not have the technology we have to today which makes editing and looping comparatively easy. Considering the music being made was unprecedented both for jazz and music in general it is a wonder OTC turned out as good as it did.

One thing we see from the full takes is that the original versions are much closer in spirit to the loose limbed jams that made up the second half of Bitches Brew and the unedited live tracks on Live Evil. The final edits on the album made it much more claustrophobic due to the use of fairly constrictive loops and brought the more dissonant Stockhausen influences to the surface, which of course was a left field element that Miles' current listening habits brought to the session.

There is a lot of really good extra material here. Along with the master takes we have tracks like Chieftain and Turnaround that are in many ways more exciting than the released tracks. A lot of the new tracks are long jams without the focus of the OTC tunes, however if you like this era of MIles you are hardly going to be put off by long funky/bluesy jams full of deep bass and wah wah! It is a shame that the box contains tracks otherwise available on Big Fun and Get Up With It as surely the only people who would be interested in a box like this will be fans who already have most of the cds from this era of his music. A separate 3 cd set would have been more focused and cheaper!

Having the original album stuck on the end is a bit pointless as again you are going to own it if you want the box, I have to dig out my old vinyl of OTC to compare but I feel it does sound a bit clearer than I remember but maybe all in my mind. I only have a download so I don't know what the box says about the remastering.

It is fascinating hearing how some of these ideas developed during life performance particularly Ife and Turnaround which became regular themes of the new few years of concerts. Hearing the first tentative stabs at them compared to the roaring monsters they became is a revaluation. Hearing all the music together like this also shows various tangents Miles was exploring which were condensed down to the final statement of OTC. African, Indian and South American influences ooze through the mix as well as dissonant modern classical and Musique Concrete organ clusters. The whole project has a much more expansive feel when taken as a whole and it says something for the quality of the music that even the less focused tracks can still warrant repeated listens. The path to the colossal double live albums Agharta and Pangaea with their endless visas seems clearer after listening to this box.

I highly recommend it to anyone interest in Miles, production techniques, funk and world music and modern music in general!

Maningrey at London School of Sound

GalaxyExplorer

GalaxyExplorer

April 20, 2011

The final Miles Davis box set has both high and low points, as the previous boxes do. For pure music, though, this is undoubtedly one of the best. I never cared much for the On the Corner album, but the first four tracks here are outstanding. These "unedited masters" make a lot more sense than the original album. They allow you to hear the music as it was recorded, instead of how Teo Macero disastrously and unilaterally decided it should be presented. So, what for a long time had been one of Miles's most controversial, polarizing, and downright confusing albums, becomes some of the strongest studio work during his fusion years. The "bright" mood of the original has morphed into a dark, swirling monster.

Davis and his band were making music back then that didn't lend itself to the short LP format. The band really stretches out in laid-back improvisational jam sessions here, and only now can we truly appreciate what was accomplished. This whole scenario is similar to how the Cellar Door box works; the music there is presented in a much better form than on Live-Evil. Additionally, the main album sessions (tracks 1-4) benefit from the exclusion of drummer Al Foster, who for me ruined many of the 1974/1975 live recordings with his dirty open hi-hat. This fact alone makes the On the Corner box some of the best Miles fusion. And in my opinion, together with Kind of Blue, Silent Way, Bitches Brew and the Second Classic Quintet albums, this ranks among his finest work.

Let's see...other unreleased tracks... both Jabali and Ife from the 12 June 1972 session are decent, if less memorable. Jabali is a quieter, more laid-back piece similar to what Herbie Hancock was doing at the time. Bennie Maupin's bass clarinet adds a spooky dimension. Ife (almost a placeholder title for many of the various lengthy jams around this time) features more synth and a more propulsive rhythm. The track reaches its stride when the bass melody kicks in around 6:40. Later it switches to a much slower pace and loses the structure. But wake up! Here comes Chieftain! More fractured, processed trumpet accompanies the fast, clicky percussion on this unusual track. Turnaround is another good jam. Foster's dreaded hi-hat makes an unwelcome return on U-Turnaround, though somehow it meshes better with the rhythm than it does on later albums, and it gives the music a bit of variety. The remainder of the new tracks are quite unfortunately marred by the hi-hat; there's some really great stuff going on underneath it, ironically on the dark and jazzy Mr Foster (which I kind of like). For these remaining tracks, I have to recommend a break in listening. There's so much music to work through that you're liable to grow weary of this stuff in a couple hours.

Now to the not-so-great. Probably a third of this box is previously released material. Anybody interested in this stuff already has Get Up With It and the original On the Corner. Why were the final and now-irrelevant album versions of the On the Corner tracks included here? The unedited versions are vastly superior music. I think at least two discs could have been cut from this set, making it less expensive, and making for a lot less duplication in everyone's collection. But that doesn't jive with Sony's accountants.
markjazz

markjazz

February 6, 2009
The album jazz critics had to grow to love has been released on a lovely boxset and like it has been mentioned before these also include tracks from the albums 'Big Fun' and 'Get Up With It'. Infact the only track that doesn't appear on this set from 'Get Up With It' is 'Honky Tonk'. The whole 6 cd set is included with a 120 page booklet that's a quick read as half of it is pictures and various drawnings, info and credits about the 'On The Corner Sessions'. One problem I have with the book is that it's attached to the spine of the same box that holds the cd's. So you have to lug the whole thing around if you want to just read the book. Other than that the box is very nice. It's a golden tin that has the people from the album cover of 'On the Corner' but in a raised profile.

Getting to the music now. Like I said earlier it contains tracks from two others albums and these tracks are in their remastered form as well. Example; disc four contains the two 30+ minute tracks featured on the album 'Get Up With It'. I make this point because if you already own 'Get Up With It' and 'Big Fun' there's really no incentive to buy this set, unless your a mad collector. I didn't own those two other albums so this was an easy buy for me. I think I would have rather had them include live versions from the tracks on the 'On the Corner' album but I'm ok with what they did in the long run. There is also included a few unreleased tracks like 'Jabali', 'Chieftain' and 'Hip-Skip', which are all great tracks and fit the original albums sound nicely.

So what does "On The Corner" mean? Every time I look at this I can't help but this of the movie 'Taxi Driver' and seeing all the odd and interesting characters that walk the streets and stand at the corner. That's what this album means to me as far as visuals and I think that's what Miles Davis was looking for and the audience he was focusing on too. Maybe I'm wrong but every time I play a track from this album I think of New York City and the funk and fusion that went along with it during the 70's, good or bad. This boxset is a must have for the fusion jazz fan and although it's a bit pricey you won't have any regrets after you purchase it.