A influência sem fronteiras de On The Corner de Miles Davis estava tão à frente do seu tempo em 1972 que os conhecedores de jazz rejeitaram a sua construção revolucionária como um trabalho mediano. No entanto o tempo encarregou-se de afinar os conceitos e alterar a percepção das ideias visionárias e abordagem musical audaz e controversa, que tantas vezes Miles Davis nos apresentou.

• SuperVinyl Edição Limitada
• Edição Numerada
• Vinil 180 Gramas SuperVinyl de Alta Definição
• Prensado na Fidelity Record Pressing USA
• Masterização no Gain 2 Ultra Analog System
• Masterização Mobile Fidelity Sound Lab
• Masterizado a partir das Master Tapes Originais Analógicas
• Corte por Krieg Wunderlich e Shawn R. Britton
• Capas interiores especiais antiestáticas
• Capa Gatefold Deluxe

Exotic, Bold, Streetwise, Futuristic: On the Corner Embraces Miles Davis' "Jungle Sound" with Percussive Foundations, Trance Loops, and Transformational Arrangements

Sourced From the Original Master Tapes: Mobile Fidelity 180g 33RPM SuperVinyl LP Reveals Multiple Layers of Rhythm, Visceral Bass, and Pioneering Production Techniques

1/4" / 15 IPS analog master to DSD 256 to analog console to lathe

Miles Davis' boundlessly influential On the Corner was so far ahead of its time upon release in 1972, the jazz cognoscenti rejected its groundbreaking concoction as middling in nature. Yet time has a way of righting wrongs and shifting views by adding needed context and perspective to visionary ideas, music, and approaches — the likes of which fill Davis' boldest and most controversial — undertaking. Designed to bring the focus back on the groove and bottom-end frequencies, the funk-loaded On the Corner revolutionized jazz. It also set new standards for record production, presaging remixing and electronica by more than a decade. And the work has never sounded more thrilling thanks to this very special pressing.

Sourced from the original master tapes, Mobile Fidelity's numbered-edition 180g 33RPM SuperVinyl LP of On the Corner exposes the internal mechanisms, free-associated playing, and then-unmatched studio techniques in vivid fashion. The low end, crucial to every composition here, is both heard and felt, with locked-in bass lines and low-range percussion conveyed as taut, solid, and visceral passages. You can discern the multiple layers of rhythm Davis employed on complex tracks such as "Black Satin," as On the Corner stands as his first effort to use overdubbing and multiple tape machines. As a pioneer, Davis likely would’ve loved MoFi’s groundbreaking SuperVinyl profile that features the lowest-possible analog noise floor as well as pristine transparency, dead-quiet surfaces, and superb groove definition.

New degrees of spaciousness and airiness — equally important to the musique concrete arrangements — give the impression Davis and Co.'s creations float in space. Instruments are portrayed in three-dimensional manners, rhythmic loops retain tonal purity, and horn solos skitter across an extra-wide soundstage that takes listeners into Columbia's Studio E. Mobile Fidelity's SuperVinyl LP captures Teo Macero's innovative production — and the trumpeter's cutting-edge aural collages — in definitive fashion.

Heavily inspired by Sly and the Family Stone, On the Corner portrays street vibes and remains Davis' Blackest-sounding record. The conscious attempt to connect with youthful audiences tapped into rock and funk is evident not only on the colorful cartoon cover art depicting hot-pants and zoot-suit revelers, but in the music's emphasis of recurring drum and bass grooves. Distinct from Davis' earlier fusion experiments, the record's long-misunderstood set dials back improvisation in favor of beats, loops, and atmospherics that generate trance-like effects. While Davis utilizes his band for core duties — Chick Corea and Herbie Hancock prominently figure — he also relies on an all-star cast of sidemen for concentrated soloing and additional support.

With rhythm providing the basic foundation, other notes fall into place, with their positioning steered by Macero and Davis' editing-room techniques. Looking to the manipulation-based work of Karlheinze Stockhausen and teaming with Stockhausen disciple Paul Buckmaster, Davis re-imagines what grooves constituted and could accomplish throughout On the Corner. The shapes of the songs become completely transformed as they progress. Faint melodies, spacey chords, chunky riffs, wah-wah fills, and repeated motifs bounce in and out of a sonic funhouse that wouldn't be out of place at a Harlem block party.

Exotic, intrepid, and filled with Davis' "jungle sound," On the Corner remains daringly hip more than four decades later.

MoFi SuperVinyl
Developed by NEOTECH and RTI, MoFi SuperVinyl is the most exacting-to-specification vinyl compound ever devised. Analog lovers have never seen (or heard) anything like it. Extraordinarily expensive and extremely painstaking to produce, the special proprietary compound addresses two specific areas of improvement: noise floor reduction and enhanced groove definition. The vinyl composition features a new carbonless dye (hold the disc up to the light and see) and produces the world's quietest surfaces. This high-definition formula also allows for the creation of cleaner grooves that are indistinguishable from the original lacquer. MoFi SuperVinyl provides the closest approximation of what the label's engineers hear in the mastering lab.

Músicos:

Miles Davis, trompete eléctrico
Dave Liebman, saxofone soprano (A1)
Carlos Garnett, saxofone soprano e tenor (B1, B2)
Chick Corea, piano eléctrico
Herbie Hancock, piano eléctrico, sintetizador
Harold I. Williams, orgão, sintetizador
David Creamer, guitarra eléctrica (A2, B1, B2)
John McLaughlin, guitarra eléctrica (A1)
Michael Henderson, baixo eléctrico
Collin Walcott, sitar eléctrica (A1, B1, B2)
Khalil Balakrishna, sitar eléctrica (A2)
Bennie Maupin, clarinete baixo (B1)
Badal Roy, tabla
Jack DeJohnette, bateria
Jabali Billy Hart, bateria, bongos
James "Mtume" Foreman, percussão
Don Alias, percussão
Paul Buckmaster, violoncelo, arranjos

Lista de Faixas:

Lado A
1. On The Corner
2. New York Girl
3. Thinkin' One Thing And Doin' Another
4. Vote For Miles
5. Black Satin

Lado B
1. One And One
2. Helen Butte
3. Mr. Freedom X

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