Mobile Fidelity - UDSACD 2171 - SACD Hybrid Stereo -
Mastered by Kreig Wunderlich from the Original Master Tape at MFSL
Numbered Limited Edition - Plays On All CD Players
Half-Speed Mastered on the Mobile Fidelity GAIN 2™ Mastering Technology for SACD
It is verifiably sourced from the original master, and like the other titles in MoFi's Miles Davis SACD series, it presents the sound on tape in vivid detail while preserving the analogue character of the recording Mobile Fidelity's tape-transfer chain has a warm sonic character that makes this series of SACDs and concurrent LP pressings highly listenable and worth collecting. MFSL faithfully recreates the sound of the original master tape so that those with open ears and open minds can hear what Miles Davis intended.Sound 5/5 Music 5/5 HRaudio Review
Miles Davis On the Corner on Numbered Limited Edition SACD
Get Down and Make It Funky: Miles Davis' Groundbreaking On the Corner Focuses on the Groove and Bottom End
Mastered From the Original Master Tapes: Mobile Fidelity SACD Reveals Multiple Levels of Rhythm, Visceral Bass, and Pioneering Production Techniques In Transparent Fashion
Exotic, Bold, Streetwise: Spirited 1972 Album Embraces Davis' "Jungle Sound" With Percussive Foundations, Trance Loops, and Transformational Arrangements
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.
Mastered from the original master tapes numbered limited-edition of On the Corner exposes the internal mechanisms, free-associated playing, and then-unmatched studio techniques in vivid audiophile-grade sonics. 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 even discern the multiple levels 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.
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 analog version 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.
Secure your lowest-numbered copy of this collectable SACD
Miles Davis, electric trumpet, wah-wah
Dave Liebman, soprano sax
Carlos Garnett, soprano sax, tenor sax
Chick Corea, keyboards, Fender Rhodes
Herbie Hancock, keyboards, synthesizer, Fender Rhodes
Harold "Ivory" Williams, keyboards
Lonnie Liston Smith, organ
David Creamer, electric guitar
John McLaughlin, electric guitar
Michael Henderson, electric bass, wah-wah
Collin Walcott, electric sitar
Khalil Balakrishna, electric sitar
Bennie Maupin, bass clarinet
Badal Roy, tabla
Jack DeJohnette, drums
Billy Cobham, drums
Al Foster, drums
Jabali Billy Hart, drums, bongos
James "Mtume" Foreman, percussion
Don Alias, percussion
Paul Buckmaster, cello
Cedric Lawson, organ
Miles Davis On the Corner Track Listing:
1. On the Corner/New York Girl/Thinkin' One Thing and Doin' Another/Vote for Miles
2. Black Satin
3. One and One
4. Helen Butte/Mr. Freedom X
Mobile Fidelity believes that mastering systems should be neutral and transparent. The essential idea is to unveil all the detailed musical information on the original master recording without adding deterioration, coloration or other sonic artifacts.
It is worth noting that Mobile Fidelity Sound Lab stands out as one of few record labels that independently invests in research and development of audio technology. With proprietary innovations such as GAIN 2™, general music enthusiasts and audiophiles alike have reaped the benefit of a higher consumer audio standard without investing in costly new hardware. Mobile Fidelity is pleased to work with a variety of engineering legends and companies including Tim de Paravicini, Ed Meitner, Pass Labs, Theta Digital and Sony Electronics.
Our joint efforts to seek out the ultimate audio experience, has resulted in significant advances for the technology of music reproduction.
GAIN 2™ Mastering Technology for Ultradisc UHR™ Hybrid SACD and Ultradisc II™ 24kt Gold CDs
For over twenty years, Mobile Fidelity Sound Lab has continually searched for the ultimate audio experience. During this search MFSL engineers and associates created The GAIN™ System, a proprietary mastering technology which brought warmth and ambience to the compact disc format. A few years ago - with higher resolution formats on the horizon - the vision of GAIN 2™ began. As it stands today, GAIN 2™ is one of the greatest technical advancements in analogue and digital technology in the last ten years. It consists of a series of critical modifications and new components to Mobile Fidelity's proprietary mastering chain.
We feel that GAIN 2™ has come extremely close to meeting this goal. The key accomplishments of GAIN 2™ System are 1) the ability to extract all the musical information as possible through the Ultra High bandwidth analogue tape playback system with proprietary custom tape playback heads, reproducer electronics and 2) transparently capturing and storing that information with the Direct Stream Digital recording system