AAA 100% Analogue This LP was Remastered using Pure Analogue Components Only from the Master Tapes through to the Cutting Head
Mobile Fidelity - MFSL 1-452 - 180 Gram Virgin Vinyl - Columbia KC 31906
AAA 100% Analogue - Numbered Limited Edition - Pressed at RTI
Pure Analogue Mastered by Kreig Wunderlich from the Original Master Tape at MFSL
Half Speed Mastered on the Mobile Fidelity The Gain 2 Ultra Analog System
This seems to be the best version of this classic that is available. Very open sound and very well mastered. If you have to have just one copy on LP - LP Review.
On the Corner is not an easy record to grasp, but with repeated playings its power sinks deeper in. It captures a restless musician at a time in his life when he wanted to move his music forward yet again, as well as the anger and struggles of African-American life in the 1970s and even today. Mobile Fidelity could easily have chosen to press only the more popular Miles Davis titles. Instead, they’ve given us one of his more bracing, challenging, and difficult albums in the best possible sound. - Soundstage
Miles Davis On the Corner on Numbered Limited Edition 180g LP from Mobile Fidelity
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 180g LP 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 and pressed at RTI, Mobile Fidelity's numbered limited-edition 180g LP 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 LP
• Numbered, Limited Edition • 33rpm Speed Edition
• Mastering by Mobile Fidelity Sound Lab • Specially Plated and Pressed on 180 grams of High Definition Vinyl
• Special Static Free - Dust Free Inner Sleeve • Heavy Duty Protective Packaging
• Mastered from the Original Master Tapes • Pressed at RTI
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
GAIN 2 Ultra Analog™ is a proprietary cutting system built and designed by legendary design genius Tim De Paravicini, with consultation from one of MFSL’s founding fathers – Stan Ricker, an audio engineer responsible for many of MFSL’s most heralded past releases.
The GAIN 2 Ultra Analog™ system is comprised of a Studer™ tape machine with customized reproduction electronics* and handcrafted cutting amps that drive an Ortofon cutting head on a restored Neumann VMS-70 lathe. (*It is worth noting that independent studies have confirmed that the GAIN 2 Ultra Analog™ system can unveil sonic information all the way up to 122kHz!)
First and foremost, we only utilize first generation original master recordings as source material for our releases. We then play back master tapes at half speed enabling the GAIN 2 Ultra Analog™ system to fully extract the master’s sonic information. Our lacquers are then plated in a specialized process that protects transients in the musical signal. (Due to this process, there may be occasional pops or ticks inherent in initial play back, but as the disc is played more, a high quality stylus will actually polish the grooves and improve the sound). We further ensure optimum sound quality by strictly limiting the number of pressings printed for each release. These limited editions, in addition to being collectors’ items, ensure that the quality of the last pressing matches the quality of the first.
As you can imagine, all these efforts involve a tremendous amount of time, technology, cost and effort. The introduction of GAIN 2 Ultra Analog™ maintains Mobile Fidelity Sound Lab’s position as the world’s leading audiophile record label, where a passion for music with extraordinary sound quality matters most.
RTI HQ-180 Vinyl
Record Technology is a world class record pressing plant located in Camarillo, California. We have been operating since 1974, pressing for most audiophile record labels and for many quality minded independent and major record labels from around the world.