Davis's 1972 funk-infused 'On the Corner' utilized a large ensemble and studio effects to create a dense, polyrhythmic sound. The album alienated many jazz critics and fans, but pointed toward later developments in hip-hop and electronic music.
- The album's sessions featured a sprawling roster of musicians, including guitarist Pete Cosey, bassist Michael Henderson, and drummer Al Foster. Producer Teo Macero extensively edited and manipulated tape from the sessions, piecing together the album's dense textures. The album reached number 44 on the Billboard 200 and number 12 on the Jazz Albums chart.
- The album was initially met with confusion and derision from critics, who found its sound abrasive and inaccessible. Davis himself was somewhat dismissive of the record in later years, though its influence on later genres is undeniable.
- Davis's electric period, bookended by 'Bitches Brew' (1970) and 'Get Up with It' (1974), saw him incorporate a wide range of influences, from rock and funk to the nascent sounds of hip-hop. 'On the Corner' is a key, if controversial, entry in this period.
Miles Davis was a trumpet virtuoso and bandleader who led jazz in new directions from cool jazz to fusion. In 1972, he was deep into his electric period, experimenting with funk and rock rhythms.
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