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| Length = 54:49 | Label = Columbia | Producer = Teo Macero | Last album = ''Live-Evil'' (1971) | This album = ''On the Corner'' (1972) | Next album = ''Black Beauty: Live at the Fillmore West'' (1973) }} ''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. It was scorned by established jazz critics at the time of its release and was one of Davis's worst-selling recordings. Its critical standing has improved dramatically with the passage of time; it is now widely considered one of Davis's most experimental releases and a strong forerunner of the musical techniques of post-punk, industrial, hip hop, drum and bass, and electronic music.〔〔Tingen, Paul (October 26, 2007). (The most hated album in jazz ). ''The Guardian''. Retrieved on 2011-02-12.〕 Joining previous multi-disc Davis reissues of ''In a Silent Way'', ''A Tribute to Jack Johnson'', and ''Bitches Brew'', ''On the Corner'' was reissued on the 6-disc boxed set ''The Complete On the Corner Sessions'', released in September 2007. == Music == Davis claimed that ''On the Corner'' was an attempt at reconnecting with the young African American audience which had largely forsaken jazz for such groove-based idioms as soul, funk and rock. Much to his chagrin, the album's commercial success was as limited as that of other albums since ''Bitches Brew'', topping the ''Billboard'' jazz chart and only peaking at #156 in the more heterogeneous ''Billboard'' 200.〔http://www.allmusic.com/album/on-the-corner-mw0000197892/awards〕 While there is a discernible rock and funk influence in the timbres of the instruments employed, the album was a culmination of sorts of the ''musique concrète'' approach that Davis and producer Teo Macero (who had studied with Otto Luening at Columbia University's Computer Music Center) had begun to explore in the late 1960s. Both sides of the record were based around drum and bass grooves, with the melodic parts snipped from hours of jams. Also cited as musical influences on the album by Davis were the contemporary composer Karlheinz Stockhausen,〔"Miles Davis first heard Stockhausen's music in 1972, and its impact can be felt in Davis's 1972 recording ''On the Corner'', in which cross-cultural elements are mixed with found elements." Barry Bergstein "Miles Davis and Karlheinz Stockhausen: A Reciprocal Relationship." The Musical Quarterly 76, no. 4. (Winter): p. 503.〕〔In Davis' autobiography he states that "I had always written in a circular way and through Stockhausen I could see that I didn't want to ever play again from eight bars to eight bars, because I never end songs: they just keep going on. Through Stockhausen I understood music as a process of elimination and addition" (''Miles'', New York: Simon & Schuster, 1989, p. 329)〕 who later recorded with the trumpeter in 1980,〔"In June of 1980, Miles Davis was joined by the German composer Karlheinz Stockhausen in the studios of Columbia Records; the recording of this collaboration is still unissued." Barry Bergstein "Miles Davis and Karlheinz Stockhausen: A Reciprocal Relationship" ''The Musical Quarterly'' Vol. 76, No. 4 (Winter, 1992), p. 502〕 and Paul Buckmaster (who played electric cello on the album and contributed some arrangements). Buckmaster and Davis also recorded the song "Ife" in a session during the same period. The song failed to make ''On The Corner'' but instead appeared on ''Big Fun'' in 1974; it is possible that it wasn't included on the previous because of time constraints. 抄文引用元・出典: フリー百科事典『 ウィキペディア（Wikipedia）』 ■ウィキペディアで「On the Corner」の詳細全文を読む スポンサード リンク
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