|
''The Complete On the Corner Sessions'' is a posthumous box set by American jazz musician Miles Davis, released on October 2, 2007, by Columbia Records. Like other Davis box sets, the included material is taken from a wider chronology of sessions than the dates which actually produced the titular album. ''The Complete On the Corner Sessions'' compiles material from 1972 through 1975 which, due to lineup changes Davis made throughout the era, features over two dozen musicians. Columbia has released a series of ten box sets containing recordings from the 1950s to the 1970s. These contain material not available on other Columbia albums. Following ''The Complete In a Silent Way Sessions'', ''The Complete Bitches Brew Sessions'', ''The Complete Jack Johnson Sessions'', and ''The Cellar Door Sessions'', this release includes the funk/jazz fusion album ''On the Corner''. His band was made up of musicians trained not only in the basics of jazz, but on the newer sounds of James Brown and Sly Stone. The box set includes more than 6 hours of music. Twelve of these are previously unissued tracks. Another five tracks are previously unissued in full. They cover sixteen sessions from ''On the Corner'', ''Big Fun'', and ''Get Up with It'' until Davis's mid-seventies retirement. Miles is joined in these recordings by Chick Corea, Herbie Hancock, John McLaughlin, Jack DeJohnette, Billy Hart, and many others. The 6-CD deluxe edition also contains a 120-page full-color booklet with liner notes and essays by producer Bob Belden, journalist Tom Terrell, and arranger/composer Paul Buckmaster as well as rare photographs and new illustrations.〔http://www.miles-beyond.com/otcbox.htm〕 ==Recording history== As with many of the Miles Davis boxed sets, the overall title is rather misleading. The ''On the Corner'' boxed set covers three years of sessions, from March 1972 to May 1975, and contains music with different styles, concepts, approaches and personnel. Similarly, ''The Complete Bitches Brew Sessions'' includes all of the sessions Davis recorded between August 1969 and February 1970, although the actual ''Bitches Brew'' sessions took place over just three days in August 1969. The sessions for the 1972 album ''On the Corner'' were recorded in June and September 1972. ''On the Corner'' was scorned by established jazz critics at the time of its release and was one of Davis' worst-selling recordings. Its critical standing has improved with the passage of time; today it is seen as a strong forerunner of the musical techniques of hip hop, drum and bass, and electronic music. Davis claimed that ''On the Corner'' was an attempt to connect with a young black audience which had largely forsaken jazz for rock and funk. While there is a discernible rock and funk influence in the timbres of the instruments employed, from a musical standpoint 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 simple, repetitive drum and bass grooves (the track delineations on the original album were arbitrary), with the "melodic" parts snipped from hours of meandering jams. These techniques, refined via the use of computers and digital audio equipment, are now standard amongst producers of electronically based music. Davis also cited the contemporary composer Karlheinz Stockhausen (who was later falsely rumored to have recorded with the trumpeter in the late 1970s) and Paul Buckmaster (who played electric cello on the album and contributed some arrangements) as musical influences on the album. 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「The Complete On the Corner Sessions」の詳細全文を読む スポンサード リンク
|