[SACD-R][OF] Miles Davis - On The Corner - 1972/2016 (Jazz; Fusion; Jazz-Funk)

foobar2000 1.3.13 / Замер динамического диапазона (DR) 1.1.1
Дата отчёта:  2016-12-13 14:06:27
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Анализ:   MILES DAVIS / On The Corner
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DR         Пики         RMS           Продолжительность трека
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DR11      -0.33 дБ   -13.47 дБ     19:57 01-On The Corner / New York Girl / Thinkin' One Thing And Doin' Another / Vote For Miles
DR12      -0.98 дБ   -15.42 дБ      5:16 02-Black Satin
DR13      -0.54 дБ   -14.97 дБ      6:08 03-One And One
DR11      -1.53 дБ   -14.72 дБ     23:23 04-Helen Butte / Mr. Freedom X
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Количество треков: 4
Реальные значения DR: DR12
Частота:   2822400 Гц / Частота PCM: 88200 Гц
Каналов:   2
Разрядность:   24
Битрейт:   5645 кбит/с
Кодек:   DSD64
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On the Corner is a studio album by jazz musician Miles Davis, recorded in June and July 1972 and released later that year on Columbia Records. Drawing on funk and rock music, the work of experimental composer Karlheinz Stockhausen, and electronic recording techniques, it was in part an attempt by Davis to reach a younger African American audience. Instead, it became one of his worst-selling recordings and was scorned by establishment jazz critics at the time of its release. It was also his last studio album of the 1970s; for the remainder of the decade he recorded haphazardly and focused instead on live performance before temporarily retiring from music in 1975.
The critical standing of On the Corner has improved dramatically with the passage of time. The album has been recognized as a pivotal influence on subsequent funk, electric jazz, post-punk, electronica, and hip hop music. In recent years, publications such as Fact and Pitchfork Media have named it among the best albums of the 1970s. In 2007, On the Corner was reissued as part of the 6-disc box set The Complete On the Corner Sessions, joining previous multi-disc Davis reissues.
All Music Review
Could there be any more confrontational sound in Miles Davis’ vast catalog than the distorted guitars and tinny double-timing drums reacting to a two-note bass riff funking it up on the first track from On the Corner? Before the trumpet even enters the story has been broken off in the middle — deep street music melding with a secret language exchanged by the band and those who can actually hear it as music. Here are killer groove riffs that barely hold on as bleating trumpet and soprano sax lines (courtesy of Dave Liebman on track one) interact with John McLaughlin’s distortion-box frenzy. Michael Henderson’s bass keeps the basic so basic it hypnotizes; keyboards slowly enter the picture, a pair of them handled by Herbie Hancock and Chick Corea, as well as Ivory Williams’ synthesizer. Finally, Colin Walcott jumps in with an electric sitar and there are no less than five drummers — three kits (Al Foster, Billy Hart, and Jack DeJohnette), a tabla player, and Mtume. It’s a four-tune suite, On the Corner is, but the separations hardly matter, just the shifts in groove that alter the time/space continuum. After 20 minutes, the set feels over and a form of Miles’ strange lyricism returns in “Black Satin.” Though a tabla kicks the tune off, there’s a recognizable eight-note melody that runs throughout. Carlos Garnett and Bennie Maupin replace Liebman, Dave Creamer replaces McLaughlin, and the groove rides a bit easier — except for those hand bells shimmering in the background off the beat just enough to make the squares crazy. The respite is short-lived, however. Davis and band move the music way over to the funk side of the street — though the street funkers thought these cats were too weird with their stranded time signatures and modal fugues that begin and end nowhere and live for the way the riff breaks down into emptiness. “One and One” begins the new tale, so jazz breaks down and gets polished off and resurrected as a far blacker, deeper-than-blue character in the form of “Helen Butte/Mr. Freedom X,” where guitars and horns careen off Henderson’s cracking bass and Foster’s skittering hi-hats. It may sound weird even today, but On the Corner is the most street record ever recorded by a jazz musician. And it still kicks.