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This commodity is nigh the album by Miles Davis. For the picture, see On the Corner (motion picture).

1972 studio anthology by Miles Davis

On the Corner
Miles Davis On The Corner.jpg
Studio album by

Miles Davis
Released Oct 11, 1972
Recorded June 1, 6 and July 7, 1972
Studio Columbia Studio E (New York)
Genre
  • Jazz-rock
  • jazz-funk
  • fusion
  • advanced
  • psychedelic funk
Length 54:41
Label Columbia
Producer Teo Macero
Miles Davis chronology
Live-Evil
(1971) 		On the Corner
(1972) 		Black Beauty
(1973)

On the Corner is a studio album past American jazz trumpeter, bandleader, and composer Miles Davis. It was recorded in June and July 1972 and released on October 11 of the same year by Columbia Records. The album continued Davis's exploration of jazz fusion, and explicitly drew on the influence of funk musicians Sly Stone and James Chocolate-brown, the experimental music of Karlheinz Stockhausen, ideas by composer Paul Buckmaster, and the free jazz of Ornette Coleman.[1]

Recording sessions for the album featured a changing lineup of musicians including bassist Michael Henderson, guitarist John McLaughlin, and keyboardist Herbie Hancock, with Davis playing the electrical organ more prominently than his trumpet.[2] Various takes from the sessions were then spliced together using the tape editing techniques of producer Teo Macero. The album'due south packaging did not credit any musicians, an attempt to make the instruments less discernible to critics. Its artwork features Corky McCoy'south cartoon designs of urban African-American characters.

On the Corner was in part an endeavour by Davis to reach a younger African American audience who had left jazz for funk and rock and ringlet. Instead, thanks to Columbia's lack of target marketing, it was one of Davis's worst-selling albums and was scorned by jazz critics at the time of its release.[3] [four] Information technology would be Davis's concluding studio album of the 1970s conceived equally a complete work; afterwards, he recorded haphazardly and focused instead on alive performance before temporarily retiring from music in 1975.[5]

The critical standing of On the Corner has improved dramatically with the passage of fourth dimension.[6] Many exterior the jazz community later chosen it an innovative musical statement and precursor to subsequent funk, jazz, post-punk, electronica, and hip hop. In 2007, On the Corner was reissued as part of the 6-disc box set The Consummate On the Corner Sessions, joining previous multi-disc Davis reissues.

Background [edit]

Davis performing in Germany, 1971

Following his plow to fusion in the belatedly 1960s and the release of stone- and funk-influenced albums such as Bitches Brew (1970) and Jack Johnson (1971), Miles Davis received substantial criticism from the jazz community.[7] [8] Critics accused him of abandoning his talents and pandering to commercial trends, though his recent albums had been commercially unsuccessful by his standards. Other jazz contemporaries, such as Herbie Hancock, Cecil Taylor, and Gil Evans defended Davis; the latter stated that "jazz has always used the rhythm of the time, whatever people danced to". In early 1972, Davis began conceiving On the Corner as an attempt to reconnect with the young African-American audition which had largely forsaken jazz for the groove-based music of Sly and the Family Rock and James Chocolate-brown.[8] In an interview with Melody Maker, Davis stated that

"I don't care who buys the record so long as they become to the blackness people so I will exist remembered when I die. I'm non playing for any white people, human being. I wanna hear a black guy say 'Yeah, I dig Miles Davis.'"[eight]

Also cited every bit an influence by Davis was the work of experimental composer Karlheinz Stockhausen, in particular his forays into electronic music and tape manipulation.[nine] [10] Davis was starting time introduced to Stockhausen'south work in 1972 by collaborator Paul Buckmaster, and the trumpeter reportedly kept a cassette recording of the 1966–67 Hymnen composition in his Lamborghini sports car.[10] Some concepts from Stockhausen that appealed to Davis included the electronic sound processing found in Hymnen and the 1966 piece Telemusik, and the development of musical structures by expanding and minimizing processes based on preconceived principles—as featured in Plus-Minus and other Stockhausen works from the 1960s and early on 1970s.[eleven] Davis began to apply these ideas to his music by adding and taking away instrumentalists and other aural elements throughout a recording to create a progressively changing soundscape.[11] Speaking about Stockhausen'due south influence, Davis later wrote in his autobiography:

I had always written in a round mode and through Stockhausen I could see that I didn't want to ever play again from viii bars to eight bars, because I never terminate songs: they only proceed going on. Through Stockhausen I understood music every bit a process of elimination and add-on.[12]

The work of Buckmaster (who played electric cello on the album and contributed some arrangements) and the "harmolodics" of saxophonist Ornette Coleman would also be an influence on the album. In his biography, Davis later described On the Corner with the formula "Stockhausen plus funk plus Ornette Coleman."[13] Using this conceptual framework, Davis reconciled ideas from contemporary art music composition, jazz operation, and rhythm-based trip the light fantastic toe music.[11]

Recording and production [edit]

Recording sessions began in June 1972. Both sides of the record consisted of repetitive drum and bass grooves based around a i-chord modal arroyo,[7] [14] with the final cutting culled from hours of jams featuring changing personnel lineups underpinned past bassist Michael Henderson.[8] Other musicians involved in the recording included guitarist John McLaughlin, drummers Jack DeJohnette and Billy Hart, and keyboardists Herbie Hancock and Chick Corea.[15] On the Corner utilized three keyboardists similar Bitches Mash while pairing Hart—who had played in Hancock'south Mwandishi-era band—with DeJohnette and two percussionists. Hancock's reed player, Bennie Maupin, played bass clarinet and Dave Liebman was recruited as saxophonist.[11] Jazz historian Robert Gluck afterward discussed the performance:

"The recording functions on 2 layers: a relatively static, dense thicket of rhythmic pulse provided by McLaughlin's percussive guitar attack, the multiple percussionists, and Henderson's funky bass lines, plus keyboard swirls on which the horn players solo. Segments of tabla and sitar provide a change of mood and pace. Aside from 'Black Satin,' near of the material consists of intense vamps and rhythmic layering."[11]

Compared to Davis' previous recordings, On the Corner found the musician playing the trumpet scarcely,[16] instead oft playing keyboards.[8] It likewise saw his producer, Teo Macero, employ cutting-and-splice tape editing procedures (pioneered in the late 1960s on In a Silent Way) to combine various takes in creating a single cohesive work.[14] [17] which also immune Macero and Davis to overdub and add effects.[14] Some of the musicians expressed misgivings nigh the unconventional musical direction of the sessions: Liebman opined that "the music appeared to be pretty chaotic and disorganized,"[7] while Buckmaster stated that "it was my least favorite Miles anthology."[xiv]

Packaging [edit]

The album cover featured an illustration by cartoonist Corky McCoy depicting ghetto caricatures, including prostitutes, gays, activists, winos, and drug dealers.[viii] The packaging just featured one stylized photo of Davis, and was originally released with no musician credits, leading to ongoing defoliation about which musicians appeared on the album. Davis later on admitted to doing this intentionally:[18] "I didn't put those names on On the Corner particularly for that reason, so now the critics have to say, 'What's this instrument, and what'southward this? ... I'1000 not even gonna put my picture on albums anymore. Pictures are dead, man. You lot close your eyes and you're there."[8]

Reception [edit]

On the Corner was panned by most critics and contemporaries in jazz; co-ordinate to Tingen, it became "the most vilified and controversial album in the history of jazz" just a few weeks later its release.[14] Saxophonist Stan Getz proclaimed: "That music is worthless. Information technology means zip; there is no form, no content, and information technology barely swings."[8] 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,"[eight] final that "I'd like to think that nobody could be so easily pleased as to dig this tape to any extent."[7] Eugene Chadbourne, writing for jazz magazine CODA, described information technology every bit "pure airs."[vii] In his 1974 biography of Davis, critic Pecker Coleman described the album equally "an insult to the intellect of the people."[8] Rock announcer Robert Christgau later on 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 entreatment its music had for stone critics, he praised "Black Satin" simply expressed reservations most the absence of a "expert" beat elsewhere on the album.[two] Ian MacDonald of the NME declared the album was "monumentally ho-hum".[19] MacDonald though "Black Satin" had "a nice theme, but cypher gets washed with it" whiel "Vote for Miles" had "some genuinely funky playing — only then the tablas, tamburas, hand-claps, hullo-hats, and whatnot catch on to what he'due south doing and ruin it."[nineteen] In a positive review for Rolling Stone, Ralph J. Gleason establish the music very "lyrical and rhythmic" while praising the dynamic stereo recording and calling Davis "a magician". He concluded by saying "the bear upon of the whole is greater than the sum of any office."[16]

The album's commercial operation was as express as that of Davis'south albums since Bitches Mash, topping the Billboard jazz nautical chart but only peaking at #156 in the more heterogeneous Billboard 200. Paul Tingen wrote that "predictably, this bulletproof and almost tuneless concoction of avant-garde classical, costless jazz, African, Indian and acrid funk bombed spectacularly, leading to decades in the wilderness. As far as the jazzers were concerned, it completed Davis's journey from icon to fallen idol."[fourteen]

Legacy and reappraisal [edit]

Retrospective professional reviews
Review scores
Source Rating
AllMusic [20]
Alternative Press 4/5[21]
Christgau's Record Guide B+[2]
Downwardly Beat out [22]
Encyclopedia of Popular Music [23]
MusicHound Jazz 4/5[24]
The Penguin Guide to Jazz [25]
The Rolling Stone Album Guide [26]
The Rolling Stone Jazz Record Guide [27]
Tom Hull – on the Web B+[28]

Despite remaining outside the purview of the mainstream jazz community, On the Corner underwent a positive disquisitional reassessment in subsequent decades; according to Tingen, many critics outside jazz have characterized it as "a visionary musical statement that was way ahead of its time".[14] In 2014, Stereogum hailed it as "one of the greatest records of the 20th Century, and hands i of Miles Davis' almost amazing achievements," noting the anthology'due south mix of "funk guitars, Indian percussion, dub production techniques, loops that predict hip hop."[17] According to Alternative Printing, the "essential masterpiece" envisioned much of modern pop music, "representing the high water marking of [Davis'] experiments in the fusion of rock, funk, electronica and jazz".[21] Fact characterized the album as "a frenetic and punky record, radical in its use of studio technology," calculation that "the debt that the modern dance floor owes the pounding abstractions of On the Corner has yet to exist fully understood." [29] Writing for The Vinyl Manufacturing plant, Anton Spice described it equally "the peachy nifty granddad of hip-hop, IDM, jungle, mail service-stone and other styles drawing meaning from repetition."[30]

On the Corner was featured on the 6-disc box set The Complete On the Corner Sessions, released in 2007 and featuring previously unreleased recordings from Davis' 1970s electric catamenia. Reviewing the box set in The Wire, critic Mark Fisher wrote that "[t]he passing of time oft neutralises and naturalises sounds that were once experimental, but retrospection has not made On the Corner 's febrile, bilious stew any easier to assimilate."[13] Stylus Mag 'southward Chris Smith wrote that the tape's music anticipated musical principles that abandoned a focus on a unmarried soloist in favor of commonage playing: "At times harshly minimal, at others expansive and dense, it upset quite a few people. You could call it punk."[31] On the Corner was cited by SF Weekly as prefiguring subsequent funk, jazz, post-punk, electronica, and hip hop.[32] According to AllMusic'due south Thom Jurek, "the music on the anthology itself influenced – either positively or negatively – every single affair that came later it in jazz, stone, soul, funk, hip-hop, electronic and trip the light fantastic toe music, ambience music, and even popular world music, directly or indirectly."[33] BBC Music reviewer Chris Jones expressed the view that the music and production techniques of On the Corner "prefigured and in some cases gave birth to nu-jazz, jazz funk, experimental jazz, ambience and even world music."[34] Pitchfork described the album as "longing, passion and rage milked from the primal source and heading into the dark beyond."[35]

Fact named On the Corner the 11th all-time album of the 1970s,[29] while Pitchfork named the album the 30th best album of that decade.[35] The Wire named On the Corner one of its "100 Records That Prepare the Globe on Burn (While No Ane Was Listening)".[36] According to the magazine's David Stubbs, On the Corner was "Miles's most extreme foray into what was oftentimes pejoratively dismissed as jazz rock and is still regarded by many critics today as a grotesque, period aberration".[37] John F. Szwed also wrote of the album in The Wire:

Jazz musicians hated it, critics bemoaned Miles'south autumn from grace, and since Columbia failed to market place it as a popular tape, information technology died in the racks. Even now, when Davis's jazz stone recordings are being reissued to great acclaim, On the Corner remains lost in time. Still, this record might well be the most radical suspension with the past of all of Davis's many breaks. Dense with rhythm and conceptually enriched with noises, his trumpet's office mixed downwards to that of a journeyman, the melody reduced to recycled Minimalist patterns, Davis broke every rule enforced past the jazz law. Yet today ... nosotros hear that Davis was laying the foundations for drum 'due north' bass, [trip hop], Jungle, and all the other musics of repetition to come up.[36]

Despite the record's influence on numerous artists outside of jazz, "the mainstream jazz customs nonetheless won't touch On the Corner with a barge pole", co-ordinate to Tingen, "and whatever remains of jazz-rock continues to be too securely in thrall of the pyrotechnics attribute of such 1970s bands equally Mahavishnu Orchestra to take any discover of On the Corner 'southward repetitive funk, which was the antithesis of virtuosity."[xiv] For its fusion of jazz harmonies with funk rhythms and rock instrumentation, On the Corner was regarded by both Davis biographer Jack Chambers[38] and music essayist Simon Reynolds[vi] as exemplary of the trumpeter'due south jazz-rock music, and Mick Wall viewed information technology as a "jazz-rock cornerstone".[39] According to NPR Music's Felix Contreras, On the Corner was 1 of 1972's "jazz-rock hybrids" that "blurred the lines between rock and jazz, if not outright combining them", along with I Sing the Torso Electric past Weather Study and Santana's Caravanserai.[40] Jazz scholar Paul Lopes cited the album equally an example of jazz-funk,[41] and ethnomusicologist Rob Bowman called information technology "a milestone" in the genre,[42] while Barry Miles believed it was a jazz-funk anthology that also "qualifies as prog rock because no ane at the fourth dimension knew what to phone call it."[43] Pat Thomas from Juxtapoz mag wrote in hindsight that the tape explored psychedelic funk.[44] On the Corner was also viewed past Dave Segal from The Stranger as a "landmark fusion anthology"[xv] and by Vice announcer Jeff Andrews as ane of jazz fusion's two greatest albums, the other being Davis' 1970 Bitches Brew record.[45] While noting its inclusiveness and transcendence of a variety of musical genres, Howard Mandel regarded the album equally both jazz and advanced music,[46] while Stubbs said "this riff brute is a hybrid of funk and stone but is more than atavistic, more avant garde than anything conventionally dreamt of by either genre".[37]

Track listing [edit]

All songs written past Miles Davis.

Side one
No. Title Recording date Length
1. "On the Corner/New York Daughter/Thinkin' One Thing and Doin' Another/Vote for Miles" June one, 1972 xix:57
two. "Black Satin" July 7, 1972 5:sixteen
Side two
No. Title Recording appointment Length
ane. "One and 1" June vi, 1972 6:09
2. "Helen Butte/Mr. Freedom X" June 6, 1972 23:nineteen


"Black Satin" was released every bit a single nether the name "Molester".

Personnel [edit]

  • Miles Davis – electrical trumpet with wah-wah,[47] organ
  • Michael Henderson – bass guitar with wah-wah[48]
  • Don Alias – drums, percussion
  • Jack DeJohnette – drums
  • Al Foster – drums
  • Billy Hart – drums
  • James Mtume – percussion
  • Carlos Garnett – soprano saxophone, tenor saxophone
  • Dave Liebman – soprano saxophone, tenor saxophone
  • Bennie Maupin – bass clarinet
  • Chick Corea – Fender Rhodes, keyboards
  • Herbie Hancock – Fender Rhodes, keyboards
  • Harold Ivory Williams – keyboards
  • Cedric Lawson – organ
  • Dave Creamer – guitar
  • Reggie Lucas – guitar
  • John McLaughlin – guitar
  • Khalil Balakrishna – electrical sitar
  • Collin Walcott – electric sitar
  • Paul Buckmaster – cello
  • Badal Roy – tabla[49]

References [edit]

  1. ^ Troupe, Quincy (1990). Miles: The Autobiography. Simon and Schuster. p. 322. ISBN978-0330313827. "It was really a combination of some of the concepts of Paul Buckmaster, Sly Stone, James Brown, and Stockahusen, some of the concepts I had captivated from Ornette'southward music, as well as my own."
  2. ^ a b c Christgau, Robert (1981). "Miles Davis". Christgau'due south Tape Guide: Rock Albums of the Seventies. Ticknor & Fields. p. 103. ISBN0-89919-025-1 . Retrieved August 22, 2016.
  3. ^ Troupe, Quincy (1990). Miles: The Autobiography. Simon and Schuster. p. 328. ISBN978-0330313827.
  4. ^ Chinen, Nate (Oct eleven, 2007). "CD Review: Miles Davis, The Complete On the Corner Sessions". Internet Archive. Jazz Times. Archived from the original on October 11, 2007. Retrieved February eleven, 2011. {{cite spider web}}: CS1 maint: bot: original URL status unknown (link)
  5. ^ Freeman, Philip (2005). Running the Voodoo Down: The Electric Music of Miles Davis. Hal Leonard Corporation. pp. 10, 178. ISBNi-61774-521-9.
  6. ^ a b Reynolds, Simon (2011). Bring the Dissonance: 20 Years of Writing About Hip Rock and Hip Hop. Soft Skull Printing. p. 182. ISBN978-ane-59376-460-nine.
  7. ^ a b c d eastward Silverman, Jack. "Jazz saxophonist Dave Liebman comes to Nashville to revisit Miles Davis' explosive and polarizing On the Corner". Nashville Scene . Retrieved Baronial 22, 2016.
  8. ^ a b c d east f g h i j Chambers, Jack (1998). Milestones: The Music and Times of Miles Davis. Da Capo Press. pp. 235–38.
  9. ^ Bergstein, Barry. "Miles Davis and Karlheinz Stockhausen: A Reciprocal Relationship". The Musical Quarterly 76. No. four. p. 503. Miles Davis outset heard Stockhausen's music in 1972, and its impact can be felt in Davis'south 1972 recording On the Corner, in which cross-cultural elements are mixed with found elements.
  10. ^ a b Hart, Ron. "Miles Davis The Complete On the Corner Sessions". PopMatters . Retrieved March 20, 2017.
  11. ^ a b c d east Gluck, Bob (2016). "Miles Davis's Increasingly Electronic 1970". The Miles Davis Lost Quintet and Other Revolutionary Ensembles. University of Chicago Press. pp. 107–eight. ISBN978-0226180762 . Retrieved March 23, 2017.
  12. ^ Miles, New York: Simon & Schuster, 1989, p. 329
  13. ^ a b Fisher, Marker (December 2007). "Miles Davis The Complete On the Corner Sessions Sony Legacy 6xCD". Soundcheck. The Wire. No. 286. London. p. 56 – via Exact Editions.
  14. ^ a b c d e f 1000 h Tingen, Paul (2007). "The Almost Hated Anthology in Jazz". The Guardian . Retrieved May 24, 2016.
  15. ^ a b Segal, Dave. "A Fusion Supreme". The Stranger . Retrieved March sixteen, 2017.
  16. ^ a b Gleason, Ralph (2011). "On The Corner by Miles Davis | Rolling Stone Music | Music Reviews". rollingstone.com . Retrieved June 27, 2011.
  17. ^ a b Freeman, Phil. "Miles Davis Albums From All-time to Worst." Stereogum. November 6, 2014. [one]
  18. ^ Feather, Leonard (1972). From Satchmo to Miles. Da Capo Printing. p. 248.
  19. ^ a b MacDonald 1973.
  20. ^ Jurek, Thom (2011). "On the Corner – Miles Davis | AllMusic". allmusic.com . Retrieved June 27, 2011.
  21. ^ a b "none". Alternative Press. November 2000. pp. 104–106.
  22. ^ Alkyer, Frank; Enright, Ed; Koransky, Jason, eds. (2007). The Miles Davis Reader. Hal Leonard Corporation. pp. 280, 338. ISBN978-1423430766.
  23. ^ Larkin, Colin (2011). "Miles Davis". Encyclopedia of Popular Music (5th ed.). Motorbus Printing. ISBN978-0857125958.
  24. ^ Holtje, Steve; Lee, Nancy Ann, eds. (1998). "Miles Davis". MusicHound Jazz: The Essential Anthology Guide. Music Sales Corporation. ISBN0825672538.
  25. ^ "Acclaimed Music – On the Corner". Acclaimed Music. 2010. Retrieved June 27, 2011.
  26. ^ Considine, J. D. (2004). "Miles Davis". In Brackett, Nathan; Hoard, Christian (eds.). The Rolling Rock Anthology Guide. Simon & Schuster. p. 215. ISBN0-7432-0169-8.
  27. ^ Gilmore, Mikael (1985). Swenson, John (ed.). The Rolling Rock Jazz Record Guide. Us: Random House/Rolling Stone. p. 58. ISBN0-394-72643-10.
  28. ^ Hull, Tom (n.d.). "Course List: Miles Davis". Tom Hull – on the Web . Retrieved July 22, 2020.
  29. ^ a b Kelly, Chris; Lea, Tom; Muggs, Joe; Morpurgo, Joseph; Beatnik, Mr; Ravens, Chal; Twells, John (July 14, 2014). "The 100 all-time albums of the 1970s". Fact . Retrieved September 21, 2016.
  30. ^ Spice, Anton. "An introduction to the electrical audio of Miles Davis". The Vinyl Mill . Retrieved March twenty, 2017.
  31. ^ Smith, Chris (September 1, 2003). "Miles Davis - On The Corner - On Second Thought". Stylus Magazine . Retrieved June 27, 2011.
  32. ^ "The Top 15 Almost Cocaine-Influenced Albums of All Time: The Complete List". SF Weekly. May four, 2010. Retrieved May 21, 2016.
  33. ^ Jurek, Thom. "The Complete On the Corner Sessions". AllMusic . Retrieved Baronial 8, 2011.
  34. ^ Jones, Chris. "BBC - Music - Review of Miles Davis - Consummate On The Corner Sessions". BBC . Retrieved August 20, 2017.
  35. ^ a b "Top 100 Albums of the 1970s". Pitchfork. June 23, 2004. Retrieved March 21, 2016.
  36. ^ a b Szwed, John F. (September 1998). "100 Records That Set the Earth on Fire (While No Ane Was Listening) — Miles Davis On the Corner (Columbia 1972)". The Wire. No. 175. London. p. 28 – via Exact Editions.
  37. ^ a b Stubbs, David (July 2004). "Reviews". The Wire. No. 245. p. 39.
  38. ^ Chambers, Jack (2015). "4. Jazz Rock and Beyond: 1968-1991.". Miles Davis: Grove Music Essentials. Oxford University Press. ISBN978-0190268763.
  39. ^ Wall, Mick (October 30, 2005). "Mahavishnu Orchestra: Information technology'south Just Jazz Stone Fusion Merely I Like It". Louder . Retrieved August 5, 2018.
  40. ^ Contreras, Felix (June xv, 2015). "Songs We Love: Yes, 'Heart Of The Sunrise' (Live)". NPR Music. Retrieved August 5, 2018.
  41. ^ Lopes, Paul (2002). The Rise of a Jazz Fine art Globe. Cambridge University Press. p. 248. ISBN0521000394.
  42. ^ Bowman, Rob (2004). "Funk". In Komara, Edward; Lee, Peter (eds.). The Blues Encyclopedia. Routledge. p. 353. ISBN1135958327.
  43. ^ Miles, Barry (2016). "1970s Prog Stone". The Greatest Album Covers of All Fourth dimension. Pavilion Books. ISBN978-1911163367.
  44. ^ "Miles Davis". Juxtapoz. No. 48–53. High Speed Productions. 2004. Retrieved March 16, 2017.
  45. ^ Andrews, Jeff (August 1, 2017). "The Guide to Getting into Miles Davis". Vice . Retrieved August 2, 2018.
  46. ^ Mandel, Howard. Miles, Ornette, Cecil: Jazz Across Jazz. Routledge Books, 2010. p. 75.
  47. ^ Uses of the wah pedal Miles Davis Retrieved 23 February 2021
  48. ^ Who was offset use of wah on bass Retrieved 16 February 2021
  49. ^ "On the Corner - Miles Davis | Credits | AllMusic". AllMusic . Retrieved August 20, 2017.

Sources [edit]

  • MacDonald, Ian (February 17, 1973). "Miles Davis: On The Corner (CBS)". NME . Retrieved January 19, 2021 – via Rock's Backpages.

External links [edit]

  • On the Corner track sheets at the Miles Beyond web site
  • The Almost Hated Album in Jazz at The Guardian
  • List of top album rankings for On the Corner at AcclaimedMusic.net

clubbdrationotled.blogspot.com

Source: https://en.wikipedia.org/wiki/On_the_Corner

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