![]() ![]() ![]() ![]() Long ignored, the session is on its way to rehabilitation. On the Corner (1972)īill Laswell, Miles’s posthumous remixer, called 1972’s On the Corner “mutant hip-hop” – others have heard dub, pre-punk, drum’n’bass and more in its oceanic, thick-textured, harmony-purged turmoil of multiple keyboards, overdubs, saxes and percussion. Going only by the visuals, the trumpeter reflected the movie’s desolate romanticism perfectly. The director Louis Malle hired a Paris-loving, 31-year-old Miles and a French/US band including the bebop drummer Kenny Clarke to improvise a soundtrack for his noirish 1958 thriller L’Ascenseur Pour L’Echafaud (Lift to the Scaffold). While Laswell’s echoey, bass-pumping, beat-swelling treatments sometimes twist the originals way out of shape, their creator’s spirit runs through it all. Panthalassa: The Music of Miles Davis 1969-1974 (1998)Īudacious but sympathetic remixes by imaginative producer/player Bill Laswell, of music from Miles’s heavily experimental 1970s period, including In a Silent Way. It’s a bit lightweight for its subject, but the Jaco Pastorius tribute is both swinging and soulful, and the title ballad is bittersweet acoustic Miles at his most poignant. Marcus Miller, Miles’s 1980s svengali, scored and glossily produced this late-career set dedicated to South Africa’s liberation from apartheid.
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