I never purchased Miles Davis records. They were too expensive and often sold out. I also felt these records were generic, due to their mass appeal and influence on jazz — everyone loves Miles; everyone sounds like Miles. I developed an appreciation for albums like Kind of Blue, In a Silent Way, and Bitches Brew, but was still lacking that aha moment where I understood the appeal. Until, that is, I stumbled upon Miles’s final studio album with Columbia Records, On the Corner.
I heard about On the Corner from the music review channel, The Needle Drop. The show host, Anthony Fantano, briefly describes the record as a psychedelic funk fusion experience, which appealed to me because I loved listening to funk and was curious about how Miles combined these genres and sounds with his jazzy style. The artwork was very conspicuous, with a series of black, caricatured characters acting out various scenarios behind a bright yellow background. I find the album cover beautiful, chaotic, and outrageous in its depiction of blacks and black culture, which is intriguing and exciting.
I was shocked. The music is cacophonous and unsettling, as performers often collide with each other and tempos shift in and out of sync. Additionally, effects are applied in strange ways that disorient and confuse. The drums are repetitive and play a prominent role in the mix — slapping with a strong sense of purpose. It’s hard to recognize Miles’s trumpet; the strange delay and overdubbed effects give his instrument an almost drone-like and synthetic tone.
I kept returning to listen, despite my initial confusion, to the psychedelic and disorienting nature of On the Corner. I felt less disoriented with repeated listens, and even found the compositions meditative for their repetition—like how one listens to an IDM dance record. Since each track is fairly similar in its composition, I prefer to listen to the entire album uninterrupted. I hear the subtle progression of each idea best while all compositions are still fresh in mind.
I admire Miles for taking such a risk on this record. Listening to the extended edition, it’s clear that he released the most challenging and unique tracks for the record. After hearing On the Corner, I enjoy listening to Miles’s earlier works. I see now the artist Miles Davis as a musician that was unafraid to push boundaries and experiment with sound, even if the results were not popular or consistent with expectations.
– Evan
Edited by: Seán Pierce