Description MILES DAVIS The Complete On The Corner Sessions metal box 6 CD AUDIOPHILE THIS MY LAST ONE AT THIS LOW PRICE & NO RESERVE DO NOT MISS THIS super special low cost METAL BOX 6 CD PACKAGE, THE METAL BOX INCLUDED IN THIS SALE IS SELLING FOR OVER $500.00 ON EBAY, LOOK IT UP IMPORTANT "THIS VALUABLE RARE ITEM WILL ONLY BE SHIPPED TRACKED AND INSURED or express post or expedited post NO EXCEPTION will not mail without insurance." If you wish a cheaper option you request it and accept full responsibility if item is delivered damaged, stolen or not delivered and confirm this request in writing. MILES DAVIS - The Complete On The Corner Sessions 6CD's metal box ============================================================================================ M I L E S B E Y O N D ON THE CORNER BOXED SET MILES DAVIS - The Complete On The Corner Sessions Below the track list as given on Sony Legacy's pre-release copies of The Complete On The Corner Sessions. US release date is put back a week to October 2, 2007 This list is the same as the provisional one that was published here a few months ago, but the CD order has been swapped, some of the previously unreleased tracks have undergone edits, coming in at different lengths, and they have been given titles by Vince Wilburn, Miles' nephew, and Erin Davis, Miles' youngest son. Like with many of the Miles boxed sets, the overall title is rather misleading, in this case particularly so. It was already a stretch, for instance, to compile all sessions Miles did between August 1969 and February 1970 on the 4-CD The Complete Bitches Brew Sessions, when the actual BB sessions took place over just three days in August 1969. But the forthcoming boxed set covers three years of sessions, from March 1972 to May 1975, and contains music with entirely different vibes, concepts, approaches, personnel, and so on. It's a bit like calling everything The Beatles recorded fromSgt Pepper' onwards The Complete Sgt Pepper's Sessions. In addition, the liner notes for the boxed set are very sketchy and incomplete. For instance, there's hardly any track by track discussion, as was found on previous boxed sets. Instead there's the briefest of introductions by Bob Belden, an essay by Tom Terrell that's high on impressionistic word play but low on factual information on the music, and an entertaining and informatve essay by Paul Buckmaster, that captures the spirit of the early June 1972 sessions well, but obviously says nothing about the sessions that came afterwards, as he wasn't involved. There are also a few errors in the liner notes and discography. If you want in-depth explanations of what went on during these three years, including extensive recollections by the musicians involved, you'll need to read Chapters 9 and 10 of Miles Beyond. If you don't have it, you can order it here... I've put it on special offer for this occasion. The above aside, the forthcoming boxed set contains a lot of previously unreleased material, much of which is worth hearing. One oddity is the November 6, 1974 date, when Pete Cosey replaced Al Foster on drums on "Hip-Skip." Later that day he switched to guitar for "What They Do," on which he and guitarist Dominique Gaumont let rip. "Minnie" is based on the Minnie Ripperton song "Loving You," and is almost commercial disco, the most traditional track of the whole collection. Some critics will probably argue that it points towards the more melodic and arranged music of the 1980s. CD 1 1. On The Corner (unedited master) « 19:25 » recorded June 1, 1972 2. On The Corner (tk 4) « 5:15 » recorded June 1, 1972 3. One And One (unedited master) « 17:55 » recorded June 6, 1972 4. Helen Butte/Mr. Freedom X (unedited master) « 23:37 » recorded June 6, 1972 5. Jabali « 11:04 » recorded June 12, 1972 disc 1 remixed by Richard King and Bob Belden in 2007 CD 2 1. Ife « 21:33 » recorded June 12, 1972 2. Chieftain « 14:37 » recorded August 23, 1972—remixed by King and Belden in 2007 3. Rated X « 6:50 » recorded September 6, 1972 4. Turnaround « 17:16 » recorded November 29, 1972—remixed by King and Belden in 2007 5. U-turnaround « 08:27» recorded November 1972—remixed by King and Belden in 2007 track 1 from BIG FUN track 3 from GET UP WITH IT tracks 4 and 5 are outtakes from the same track, sections of which were previously released on Bill Laswell's Panthalassa as Agharta Prelude Dub. See note below. CD 3 1. Billy Preston « 12:33 » from December 8, 1972 2. The Hen « 12:55 » recorded January 4-5, 1973—remixed by King and Belden in 2007 3. Big Fun/Holly-wuud (tk 2) « 6:32 » recorded July 26, 1973—remixed by King and Belden in 2007 4. Big Fun/Holly-wuud (tk 3) « 7:07 » recorded July 26, 1973—remixed by King and Belden in 2007 5. Peace « 7:01 » recorded July 26, 1973—remixed by King and Belden in 2007 6. Mr Foster « 15:14 » recorded September 17, 1973—remixed by King and Belden in 2007 track 1 from stereo LP master of GET UP WITH IT CD 4 1. Calypso Frelimo « 32:04 » recorded September 17, 1973 2. He Loved Him Madly « 32:13 » recorded September 18, 1973 Both tracks from stereo LP master of GET UP WITH IT CD5 1. Maiysha « 14:51 » recorded October 7, 1974 2. Mtume « 15:08 » recorded October 7, 1974 3. Mtume (take 11) « 06:51 » recorded October 7, 1974—remixed by King and Belden in 2007 4. Hip-Skip « 18:59 » recorded November 6, 1974—remixed by King and Belden in 2007 5. What They Do « 11:44 » recorded November 6, 1974—remixed by King and Belden in 2007 6. Minnie « 3:53 » recorded May 5, 1975—remixed by King and Belden in 2007 tracks 1 & 2 from stereo LP master of GET UP WITH IT CD 6 1. Red China Blues « 4:06 recorded » 3/9/72 2. On The Corner/New York Girl/Thinkin' Of One Thing And Doin' Another/Vote For Miles « 19:54 » recorded June 1, 1972 3. Black Satin « 5:15 » recorded June 6 and July 7 1972 4. One And One « 6:09 » recorded June 6, 1972 5. Helen Butte/Mr. Freedom X (master) « 23:14 » recorded June 6, 1972 6. Big Fun « 2:32 » recorded July 26, 1972 7. Holly-wuud « 2:54 » recorded July 26, 1972 track 1 from stereo LP master of GET UP WITH IT tracks 2-5 are the stereo LP master of ON THE CORNER tracks 6 & 7 are the masters for a 45 single, both are taken from track 4 on CD 3. Note 1: all tracks remixed by Richard King and Bob Belden are previously unreleased. Note 2: the boxed set track list gives June 1, 1972 for the recording of "Black Satin," but this is a mistake. The backing tracks were recorded on June 6, titled Helen Butte/Mr Freedom X, and overdubs which actually turned it into "Black Satin," were added on July 7 of that year. Note 3: on the two Turnaround tracks. These titles will prove to be incredibly confusing, as "Turnaroundphrase" is the title traditionally given to a completely different piece, namely the opening section of for instance Dark Magus and Pangaea. Saxophonist Dave Liebman called it "Turnaroundphrase," as does Jan Lohmann in his seminal discography on Miles. What's more, Turnaround and U-Turnaround are based on the tune that appears after 22:01 in "Prelude" on Agharta. On the LP version it's actually called "Prelude Pt2." It also appears on another official Sony release, Bill Laswell's Panthalassa. Laswell calls it "Agharta Prelude Dub," and Enrico Merlin and I simply refer to it as "Agharta Prelude." Why the makers of the OTC boxed set didn't stick to convention as established by Sony itself is a mystery. (With regards to "Turnaroundphrase," since we had no record of Miles calling the tune "Turnaroundphrase," Enrico and I called it Moja, according to our principle to call untitled tunes after the medley in which it appears, ie, it's the first piece to appear on the first track/side of Dark Magus, which was called "Moja.") MILES DAVIS ON THE CORNER SESSIONS METAL BOX NEW FACTORY SEALED 6 CD's Miles Davis The Complete On The Corner Sessions Sony-Legacy Music 2007Much has been written about what is perhaps trumpeter Miles Davis' most controversial album, On The Corner(Columbia, 1972). Already shaken from the electric onslaught of Bitches Brew (Columbia, 1969), A Tribute To Jack Johnson (Columbia, 1970), and a series of live or, in the case of Live-Evil (Columbia, 1970), largely live releases, it was the album that finally sent most jazz critics running for the hills, but not before weighing in with strong condemnation of what was universally considered a sell-out.Revisiting the album, and the two June, 1992 sessions from which it was culled, on The Complete On The Corner Sessions, one can only wonder who it was that critics felt Davis was selling out to.Thirty-five years later, On The Corner has taken its rightful place as one of Davis' most influential electric recordings; a dense, jagged, near-55 minutes that may have grooved, but was hardly the kind of music to which the young demographic of the time was listening.By this time, many of Davis' illustrious band mates from the mid-to-late-1960s had moved into the fusion camp—guitarist John McLaughlin's raw but beautiful Mahavishnu Orchestra, keyboard players Chick Corea's increasingly progressive rock-informed Return to Forever and Herbie Hancock's more approachably funky Head Hunters, and keyboard player Joe Zawinul/saxophonist Wayne Shorter's collaboration Weather Report, which began closest to Davis' electric work but would ultimately move towards more commercially approachable (and successful) music.While there's no shortage of hypnotic, booty-shaking grooves on On The Corner, there's an angularity—and a lack of the more formal structures that Davis' fusion cousins were using—that made it largely inaccessible to the audience the trumpeter was targeting at the time. Davis was no stranger to innovations that were ahead of his time, but few (if any) of his other albums have taken so long to be recognized for their significance.From a trumpeter who'd established his reputation as a lyrical player with an appealing tone, there's little that can be called pretty or lyrical about On The Corner; even McLaughlin's tone is almost guttural. But if On The Corner wasn't melodic or eminently appealing in tone, it was a remarkable mix of stylistic ideas that ran the gamut from 20th Century classical composition to tabla and sitar-driven Indo-centricity, all tied together by Davis' fascination with the unshakable groove music of Sly Stone and James Brown.The Complete On The Corner Sessions represents, however, more than the music recorded for that controversial album; it includes every studio session from March 9, 1972 through to May 5, 1975, Davis' last studio date before heading into a self-imposed period of retirement for half a decade, finally reemerging as the star and, some might argue (though incorrectly), the sell-out that he was so often accused of being from the moment he plugged in, in the late 1960s.The set contains much of the material that would ultimately surface on Big Fun and Get Up With It, both on Columbia, from 1974, although some of the material on those releases can be found on The Complete Jack Johnson Sessions (Legacy, 2003) and The Complete Bitches Brew Sessions (Legacy, 1998). In fact, the only track that isn't on any of the box sets in its final form is "Great Expectations," which appears as a thirteen-minute track on the Bitches Brew box, half the length of the Teo Macero-collaged version on Big Fun.A six-CD set, perhaps the most striking of Legacy's series of Miles Davis box sets, The Complete On The Corner Sessions is housed in a metal box with raised versions of the cartoon-like street images from the original album. A 120-page book brings together the previously unexplored perspective of British composer/cellist Paul Buckmaster (who, for Davis, was a significant link to the contemporary classical music of artists like Karlheinz Stockhausen), along with a lengthy essay by journalist Tom Terrell and brief pieces by series co-producer Bob Belden.The aesthetic appeal of the box is undeniable, but it's the music—especially the three-plus hours of unreleased material and unedited masters—that matters (and the definitively remastered versions of the material already available). It's a window, not just into the mind of Davis, but of producer Teo Macero, who innovatively utilized primitive looping (does anyone remember two inch tape and an Exacto knife?) to shape the lengthy jam of "On The Corner" into the far more remarkable "On The Corner/New York Girl/Thinkin' Of One Thing And Doin' Another/Vote for Miles," and pare the nearly eighteen minutes of "One And One" into its final six-minute form. 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