Hancock Corea

On the Corner is a studio album by American jazz trumpeter, bandleader, and composer Miles Davis. It was recorded in June and July 1972 and originally released on October 11 of the same year by Columbia Records. The album continued Davis's exploration of jazz fusion, and explicitly drew on the influence of funk musicians Sly Stone and James Brown, the experimental music of Karlheinz Stockhausen, ideas by composer Paul Buckmaster, and the free jazz of Ornette Coleman.

"On the Corner" is a studio album by jazz musician Miles Davis, recorded in June and July 1972 and released in 1974 on Columbia Records. Drawing on funk and rock music, the work of experimental composer Karlheinz Stockhausen, and electronic recording techniques, it was in part an attempt by Davis to reach a younger African American audience. Instead, it became one of his worst-selling recordings and was scorned by establishment jazz critics at the time of its release. It was also his last studio album of the 1970s; for the remainder of the decade he recorded haphazardly and focused instead on live performance before temporarily retiring from music in 1975.

Miles Davis' album "Live-Evil" was originally released in 1971 by Columbia Records. The jazz album is a collection of songs from Davis' live performances spanning throughout 1970. "Live-Evil" was originally planned to be a follow up to "Bitches Brew", however the idea was withdrawn after it became clear that the two albums had little to no semblance.

On the Corner is a studio album by American jazz trumpeter, bandleader, and composer Miles Davis. It was recorded in June and July 1972 and originally released on October 11 of the same year by Columbia Records. The album continued Davis's exploration of jazz fusion, and explicitly drew on the influence of funk musicians Sly Stone and James Brown, the experimental music of Karlheinz Stockhausen, ideas by composer Paul Buckmaster, and the free jazz of Ornette Coleman.

Live-Evil is an album of both live and studio recordings by American jazz musician Miles Davis. Parts of the album featured music from Davis' concert at the Cellar Door in 1970, which producer Teo Macero subsequently edited and pieced together in the studio. They were performed as lengthy, dense jams in the jazz-rock style, while the studio recordings were renditions of Hermeto Pascoal compositions. The album was originally released on November 17, 1971.

Jack Johnson, later reissued as A Tribute to Jack Johnson, is a 1971 studio album and soundtrack by American jazz trumpeter, composer, and bandleader Miles Davis. In 1970, Davis was asked by boxing promoter Bill Cayton to record music for a documentary he was producing, on the life of boxer Jack Johnson. Johnson's saga resonated personally with the musician, who wrote in the album's liner notes of Johnson's mastery as a boxer, his affinity for fast cars, jazz, clothes, and beautiful women, his unreconstructed blackness, and his threatening image to white men. This was the second film score Davis had composed, after Ascenseur pour l'échafaud in 1957.

Lee Ritenour is one of music’s greatest players; his historic career spans five decades and boasts over forty albums. For his latest release, Rhythm Sessions, the legendary guitarist enlists a star-studded cast of veterans and promising newcomers including Chick Corea, Dave Grusin, George Duke, Stanley Clarke, Marcus Miller and winners from his Annual Six String Theory International Competition. This diverse project features a variety of sounds and grooves, all rooted in jazz, but with hints of funk, R&B, Latin and world music. Focusing on the rhythm sections, Ritenour penned various tracks and selected works by greats including Herbie Hancock and Nick Drake. This multi-layered and multi-textural work is engaging from the first note.

On the Corner is a studio album by jazz musician Miles Davis, recorded in June and July 1972 and released in 1974 on Columbia Records. Drawing on funk and rock music, the work of experimental composer Karlheinz Stockhausen, and electronic recording techniques, it was in part an attempt by Davis to reach a younger African American audience. Instead, it became one of his worst-selling recordings and was scorned by establishment jazz critics at the time of its release. It was also his last studio album of the 1970s; for the remainder of the decade he recorded haphazardly and focused instead on live performance before temporarily retiring from music in 1975.

"Live-Evil" is an album of both live and studio recordings by American jazz musician Miles Davis. This greatest masterpieces of all genres finally becomes SACD multichannel (quadraphonic) hybrid format reissue. Remastered in 2019. The 4ch mix of the front and rear is a sound source recorded in Quadraphonic, initially released in March 1973, and can be said to be a long-awaited revival release. The stereo mix that can be heard on SACD have been newly mastered from the analog master. Japanese original release.