Le Monsieur Listens...On The Corner -- Miles Davis.

Let me make one thing clear, I am not a jazz critic. I am though, Le Monsieur, and would like to think that I have a good ear for music. So, I'll admit that I do listen to Jazz. Recently, maybe it's something to do with entering ones second quarter of life that makes me do it, I've been drawn into the leanings of the jazz world that I touched upon briefly when I was in my teens. One things for sure, there are a lot of Jazz fans out there, and with all the sub-genres of jazz alone, that's enough to cause a metaphysical fist fight very quickly when the wrong combination of these fans is placed together at one time. So, now's a safe to mention that I'm listening to one of the allegedly "most controversial Jazz albums of all time", that, according to a particularly verbatious reviewer on Amazon is "Miles Davis' Metal Machine Music".

Obviously, it can't resemble Metal Machine Music, Lou Reed's none too subtle fuck off to commercial fans, as I've actually listened to it in it's entirety on more than a few occasions. The only people who've actually listened to Metal Machine Music all the through are now locked away in an asylum somewhere counting matchsticks on a far too regular basis. No, On The Corner, to mention the album title at last, - how postmodern of me! - is very listenable, and although it is a very challenging piece, it more than rewards the listener with the will to see it through to the end. I said before that I'm not a jazz reviewer, and I really don't want to be either, if they can get so complacent as to what music is actually allowed to be jazz that they rubbish anything different from the norm straight away. No, I'm a citizen of the planet, and as such I take everything as it comes. Sure, back in 1972 this was a revolutionary sound for a Jazz artist, but in these years of Internet and Organic Coffee, the revolutionary element has gone, and the controversy has turned into enjoyment.

The one thing that can be said about On The Corner is that is it certainly makes it's point quickly. As the sleeve notes impart, this album was made with attitude to spare and it shows in the music! The pace of the album is fast and furious and even the marathon grooves of Helen Butte/ Mr Freedom X don't get tiresome over their nearly twenty-five minute length. Of course, the sound of On The Corner is still revolutionary for it's (then revolutionary) production techniques and complete disregard for the listeners who appreciated his earlier, more Jazz-like albums. Hence, this album is a brave one, and one that could have been a disaster, but it isn't and Miles Davis merely cemented his reputation as Jazz's greatest experimenter extraordinaire.

This is an album that needs listening to if one wants to fully understand it's heart and soul, so I'll save the traditional analytical adjectives for another review. Simply put, you may not like this album after listening to it, but if you get anything from it, take the fact that it was sheer will and pure restless creativity that created it.

Le Monsieur