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Miles Davis never did anything in a small way, and his foray into funk was no exception. Davis threw everything and the kitchen sink onto ON THE CORNER: Electric guitars and saxophones slam against sitars and tablas; synthesizers and hand-clapping contingents jostle for space with multiple keyboards and drums, a bass clarinet, and, oh yes, Davis's own electric trumpet. On tunes like "Helen Butte" and "Mr. Freedom X" it's nearly impossible half the time to figure out what combination of instruments you're hearing anyway. Holding it all together is a wicked groove that's more indebted to James Brown, Sly Stone, and 1970s funk than it is to any traditional notion of jazz swing. Davis himself plays far less than usual, but individual improvisation isn't what ON THE CORNER is all about. Crazy rhythms and even crazier sonic textures give this gem a density that was finally appreciated a decade later by more experimental, and open-eared, neo-funketeers. Today, ON THE CORNER is a touchstone for forward-thinking jazz and hip-hop artists alike, proving that nothing succeeds like excess.