Miles Davis, one of the most innovative and influential jazz musicians in history, experienced a significant hiatus in his studio album releases from 1973 until 1981. This gap raises questions among music historians, often referred to as 'Milesologists,' about the various factors that contributed to this period of silence in his illustrious career. One key event that stands out is the lukewarm reception of his 1972 album, On the Corner.

Davis was notorious for his refusal to remain tethered to any single style of jazz for too long. In fact, On the Corner marked a pivotal moment where Davis almost detached himself entirely from jazz as a genre. In a bold move to reconnect with younger Black audiences, he ventured into a sound he would later describe as a fusion of "Stockhausen plus funk plus Ornette Coleman." This eclectic mix was a reflection of his desire to capture the attention of youth who were increasingly leaning towards rock music.

As noted by jazz critic Colin Fleming in JazzTimes, Miles wanted the kids who were into rock. This demographic had been on his radar since the release of Bitches Brew in 1970. To reach this audience, Davis performed on the psychedelic ballroom circuit, sharing stages with rock acts like the Steve Miller Band, despite his lack of respect for their musical talent. Nonetheless, he believed in the listening capabilities of the youth, a sentiment that would prove to be wise.

The result of this experiment was a unique blend of musical styles that involved a cadre of talented collaborators, including Herbie Hancock, John McLaughlin, Chick Corea, and James Mtume. Together, they created what some would call one holy hell of a grooving, minimalist racket. The fusion of sounds and influences resulted in a musical experience that was as disruptive as it was groundbreaking.

Upon its release, On the Corner was met with widespread criticism; it was deemed an affront to musical taste, an insult to listeners, and a sham perpetuated by an artist who seemed to challenge traditional norms simply for the sake of it. Critics claimed Davis sought to rub audiences' faces in something that was intentionally unpleasant. Yet, when revisited in contemporary times, as I recently did while exploring Davis extensive discography, the reasons for such outrage seem less clear.

In fact, modern listeners might find themselves more unsettled by the album's cover art, created by Corky McCoy, which depicts a stereotypical street scene featuring figures that range from prostitutes to pimps, hustlers to homosexuals. This artwork has been described as ghettodelic, a term that could also encapsulate the nascent musical genre Davis was attempting to create with this album.

Over the years, the cultural landscape has evolved, and On the Corner has begun to receive recognition for its pioneering role in shaping various genres. It has been heralded in recent years as a foundational work that helped birth hip-hop, funk, post-punk, electronica, and much moreall forms of music that thrive on repetitive beats. This is quite remarkable for a record that, ironically, is known to have been hardly listened to by the masses.

For listeners who take the time to engage with its intricate textures, the album reveals a sonic collage that shares similarities with popular music trends over the last few decades. A significant part of this experimentation was the work of producer Teo Macero, who was instrumental in the splicing and looping techniques that characterized Davis innovative sound. Perhaps the ambitious and avant-garde nature of On the Corner was too much for the sensibilities of the early 1970s, leading Davis to take a much-needed break from recording.

For those interested in further exploring the groundbreaking contributions of Miles Davis, resources such as a 65-hour chronological playlist of his revolutionary jazz albums are available. Additionally, significant milestones in his career can be revisited, including the 60th anniversary of Kind of Bluethe album that fundamentally transformed American musicand the 50th anniversary of Bitches Brew, which stands as a testament to his genius in merging funk, jazz, and psychedelic rock.

Ultimately, Miles Davis journey through the music world, particularly during the turbulent years surrounding On the Corner, serves as a reminder of the constant evolution of artistic expression and the importance of pushing boundaries. Even as he faced criticism and challenges, his willingness to innovate has left an indelible mark on music history.