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Thread: mai lyst

  1. #16
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    it's a record which makes me think because it's a record which i find it very hard to love. i'm intrigued by people who say they love it.

  2. #17
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    it's very different from the other electric miles stuff, from bitches brew, in a silent way etc because they are more or less records of landscape and atmosphere/and this very obviously isnt. it's about rhythm but such a strange investigation of it/looked at from such an unusual angle/the naturalism isn't there. it's almost mathematical/like a tropical factory

  3. #18
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    i like the record because i have to invent new ways of listening just to hear it at all

  4. #19
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    it sounds like a grid. very odd record.

  5. #20
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    it's a very beautiful piece of machinery. the synchronizing of all those moving parts

  6. #21
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    it's better than records i love because it resists.

  7. #22
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    i had a look to see if eshun dissects it but he seems to be just tripping out over those kitschy klarwein covers

  8. #23
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    On the Corner is a studio album by American jazz trumpeter Miles Davis. It was recorded in June and July 1972 and released later that year by Columbia Records. The album continued Davis's exploration of jazz fusion, bringing together funk rhythms with the influence of experimental composer Karlheinz Stockhausen and free jazz saxophonist Ornette Coleman.
    this doesnt explain it

  9. #24
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    On the Corner was panned by most critics and contemporaries in jazz; according to Tingen, it became "the most vilified and controversial album in the history of jazz" only a few weeks after its release.[1] Saxophonist Stan Getz proclaimed "that music is worthless. It means nothing; there is no form, no content, and it barely swings."[11] Jazz Journal critic Jon Brown wrote, "it sounds merely as if the band had selected a chord and decided to worry hell out of it for three-quarters of an hour,"[11] concluding that "I'd like to think that nobody could be so easily pleased as to dig this record to any extent."[2] Eugene Chadbourne, writing for jazz magazine CODA, described it as "pure arrogance."[2] In his 1974 biography of Davis, critic Bill Coleman described the album as "an insult to the intellect of the people."[11] In a positive review for Rolling Stone, Ralph J. Gleason found the music very "lyrical and rhythmic" while praising the dynamic stereo recording and calling Davis "a magician". He concluded by saying "the impact of the whole is greater than the sum of any part."[17] Fellow rock journalist Robert Christgau later suggested that jazz critics were not receptive to On the Corner "because the improvisations are rhythmic rather than melodic" and Davis played the organ more than trumpet. Regarding the appeal its music had for rock critics, he praised "Black Satin" but expressed reservations about the absence of a "good" beat elsewhere on the album.[7]

  10. #25
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    Even critics who had celebrated Bitches Brew recoiled from On the Corner. Some accused Miles of selling out in pursuit of a younger audience and Davis said in his autobiography that he had turned to funk so that he would be remembered after he died - but On the Corner is so far from being an act of populism that it is hard to imagine how Miles expected any audience for it at all.
    mark fisher got it. you have to start by acknowledging just how alien this thing is.

  11. #26
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    cubistically disjunctive
    works because of/the way the/ rhythmic grid sections up/ the canvas

  12. #27
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    you can see from the wiki entry just how recent this reapprasial is. kode 9 said it invented drum and bass or something and all of a sudden its every fact reviewers favourite album

  13. #28
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    Rate Your Music (Album Info and User Reviews)

    Best of All-time Lists, Best of Decade Lists, etc.
    Chuck Eddy (USA) - The Accidental Evolution of Rock'n'Roll (1997) No Order
    Fast 'n' Bulbous (USA) - The 1000 Best Albums of All Time (Updated 2015) 550
    Pitchfork (USA) - Top 100 Albums of the 1970s (2004) 30
    WOEBOT (Matthew Ingram, USA) - The 100 Greatest Records Ever (2005) 15
    David Toop (UK) - Ocean of Sound: Aether Talk, Ambient Sound and Imaginary Worlds (1995) No Order
    Elvis Costello - 500 Albums You Need (2000) No Order
    FACT (UK) - The 100 Best Albums of the 1970s (2014) 11
    The Wire (UK) - 100 (+30) Records That Set the World on Fire (1998) No Order
    Spex (Germany) - The 100 Albums of the Century (1999) 56
    Jazz Magazine (France) - 50 Years of Black Music (2013) No Order
    MUZIQ (France) - 200 Records for a Dream Collection (2007) No Order
    Il Mucchio Selvaggio (Italy) - 100 Essential Jazz Albums (2004) No Order
    Ratings
    All Music Guide (USA) - Album Ratings 1-5 Stars 5 Stars
    MusicHound (USA) - Album Ratings 0-5 Bones (1998-99) 4 Bones
    Robert Christgau (USA) - Consumer Guide Album Grade B+
    Rolling Stone Album Guide, Ratings 0-5 Stars (USA, 1979 and/or 1983) 3 Stars
    Rolling Stone Album Guide, Ratings 1-5 Stars (USA, 1992) 3.5 Stars
    Martin C. Strong (UK) - The Great Rock Discography 7th Edition, Ratings 1-10 7
    The Penguin Guide to Jazz on CD (6th Ed., 2002), Ratings 1-4 Stars, or a Crown 2.5 Stars
    Virgin Encyclopedia of Popular Music (UK) - Album Ratings 1-5 Stars (2002) 3 Stars
    Le Guide du CD (France) - Ratings from 1 to 4 Stars & "GOLD" (1991-1997) 3 Stars
    Music Story (France) - Album Ratings 1-5 Stars 5 Stars


    These critics also liked the following albums:

    Artist Album Year Buy from
    Amazon
    Art Ensemble of Chicago
    Les Stances a Sophie
    1970

    Don Byron
    Tuskegee Experiments
    1992

    Sam Cooke
    Night Beat
    1963

    Eric Dolphy
    Out to Lunch!
    1964

    Herbie Hancock
    Sextant
    1973

    Charles Mingus
    Charles Mingus Presents Charles Mingus
    1960

    Charles Mingus
    Let My Children Hear Music
    1972

    Max Roach
    We Insist! Max Roach's Freedom Now Suite
    1961

    Arthur Russell
    World of Echo
    1986

    Pharoah Sanders
    Karma
    1969

  14. #29
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    Lester Bangs got it...eventually.

  15. #30
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    But if a jazz composer wants to make a rock album, or an electronic album, or an ambient album, or an experimental album (like in this case)? Would you still tag it as a "jazz album"?

    Very ahead for his time, Miles Davis mixed art music with jazz/funk music, two opposite styles.

    The result is "On the Corner", a noisy nightmare with jazz and tribal tints, in which you can't recognize nothing like a melody riff or something like it. It's a magmatic long suite, heavy and disturbing.
    I've heard a lot of people defend this record as being "misunderstood", claiming that it isn't a jazz record and is at heart, an avant-garde funk album. There is only one problem with that: Miles and his crew didn't know how to play funk.
    Miles simply could not play funky music (this music does not groove and is not danceable)... in his autobiography he states that he was trying to reach the R&B market (young blacks) and that Columbia messed up because they promoted this record to jazz stations instead of R&B stations ... he must have been really lunchin' by then IMHO because no R&B station would ever have played something like this ... had this record not had his name associated with it ... it would never have been released

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