Classifier Instance:

Anchor text: On the Corner
Target Entity: On_the_Corner
Preceding Context: Herbie Hancock's Headhunters band (1973) was also in the funk-jazz style. Both groups used percussionists in addition to a drum set player. The Headhunters' lineup and instrumentation, retaining only wind player Bennie Maupin from Hancock's previous sextet, reflected his new musical direction. Bassist Paul Jackson was really the only other member who maintained a continuous presence in the lineup in subsequent recordings and concerts. On the original Head Hunters album the other band members were percussionist Bill Summers and drummer Harvey Mason. For the next Hancock album featuring Headhunters, 1974's Thrust, Mike Clark took over drumming duties.
Succeeding Context: (1972) was Miles Davis's foray into funk-jazz. Like his previous works, On the Corner was uniquely experimental. Davis claimed that On the Corner was an attempt at reconnecting with the young black audience which had largely forsaken jazz for rock and funk. While there is a discernible rock and funk influence in the timbres of the instruments employed, other tonal and rhythmic textures, such as the Indian tambora and tablas, and Cuban congas and bongos, create a multi-layered soundscape. From a musical standpoint, the album was a culmination of sorts of the musique concrète approach that Davis and producer Teo Macero (who had studied with Otto Luening at Columbia University's Computer Music Center) had begun to explore in the late 1960s. Both sides of the record were based around drum and bass grooves, with the melodic parts snipped from hours of jams. Also cited as musical influences on the album by Davis were the contemporary composer Karlheinz Stockhausen, who later recorded with the trumpeter in 1980, and Paul Buckmaster (who played electric cello on the album and contributed some arrangements).
Paragraph Title: null
Source Page: Jazz

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