Miles Davis On the Corner on Numbered Limited Edition Hybrid SACD.
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.
There were a lot of terrible album debacles in the wake of Jimi Hendrix's death in 1970, but there were a handful of keepers. The Cry of Love and Rainbow Bridge were both excellent, but now the material from both albums has been officially released as part of First Rays of the New Rising Sun or on another compilation…
Providence were the only American band signed to the Moody Blues' Threshold label back in the seventies. The group hailed from the Pacific Northwest, and distinguished themselves by their lack of a drummer, featuring instead nothing but various stringed instruments and a keyboardist. The keyboardist played piano, harpsichord, and sometimes organ, rather than ARP or Mellotron like so many of the band's contemporaries. The band's lone released album was produced by longtime Moody Blues producer Tony Clarke, and the band's music, particularly the vocals, reveal the strong influence of that band. The band recorded original compositions that featured languid string arrangements, sometimes psychedelic guitar as well as acoustic, and a bass that pretty much comprised the rhythm section for the band…
This two-fer CD pairs 1972's Live at the Lighthouse with the less impressive, though still worthy, 1974 album Kharma, which was recorded at that year's Montreux Jazz Festival. As the head of a sextet on Live at the Lighthouse, Earland spearheaded some first-class soul-jazz, which integrated some funk and rock of the early '70s without sounding like a watered-down cocktail of all those styles (as many other soul-jazz-pop albums of the time did). The horn section of James Vass on sax and Elmer Coles on trumpet leaned more toward soul than jazz, as heard on the opening instrumental cover of Sly & the Family Stone's "Smilin'." The Carpenters' "We've Only Just Begun" wasn't the greatest tune to attempt, though Earland gamely put it into a boppish swing arrangement.
Essential: a masterpiece of progressive rock music.
Discogs info: "First and unique pressing are 60 copies, 12 came with gatefold colour sleeve and booklet, 8 with black & white gatefold sleeve, 40 with single black & white sleeve."