Donald Byrd – Street Lady

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“Lansana’s Priestess” – 7:39
“Miss Kane” – 6:20
“Sister Love” – 6:11
“Street Lady” (Larry Mizell, Fonce Mizell) – 5:40
“Witch Hunt” – 9:42
“Woman of the World” (Gordon, Mizell) – 6:51

Donald Byrd – trumpet
Roger Glenn – flute
Jerry Peters – piano, electric piano
Fonce Mizell – clavinet, trumpet, vocals
Fred Perren – synthesizer, vocals
David T. Walker – guitar
Chuck Rainey – electric bass
Harvey Mason – drums
King Errisson – congas
Stephanie Spruill – percussion
Larry Mizell – vocals, arranger, conductor

Donald Byrd – Black Byrd

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“Flight Time” – 8:27
“Black Byrd” – 8:00
“Love’s So Far Away” – 6:00
“Mr. Thomas” – 5:15
“Sky High” – 5:59
“Slop Jar Blues” – 6:00
“Where Are We Going?” – 4:40

Donald Byrd – trumpet, flugelhorn, electric trumpet, vocals
Allen Curtis Barnes – flute, oboe, saxophone
Roger Glenn – saxophone, flute
Fonce Mizell – trumpet, vocals
Larry Mizell – vocals
Kevin Toney – piano
Freddie Perren – piano, synthesizer, vocals
Dean Parks, David T. Walker, Barney Perry – guitar
Joe Sample – piano, electric piano
Chuck Rainey, Wilton Felder, Joe Hill – bass
Harvey Mason, Sr, Keith Killgo – drums
Bobbye Hall Porter, Perk Jacobs, Stephanie Spruill – percussion

Herbie Hancock – Fat Albert Rotunda

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“Wiggle-Waggle” – (5:51)
“Fat Mama” – (3:49)
“Tell Me a Bedtime Story” – (5:01)
“Oh! Oh! Here He Comes” – (4:08)
“Jessica” – (4:13)
“Fat Albert Rotunda” – (6:29)
“Lil’ Brother” – (4:26)

Herbie Hancock — piano, electric piano
Joe Henderson — tenor sax, alto flute
Joe Farrell – tenor sax (uncredited in original LP release)
Garnett Brown — trombone
Johnny Coles — trumpet, flugelhorn
Joe Newman – trumpet (uncredited in original LP release)
Buster Williams — electric & acoustic bass
Albert “Tootie” Heath, Bernard Purdie — drums (Purdie was uncredited in original LP release)
Eric Gale – guitar (uncredited in original LP release)

Herbie Hancock website

Bobbi Humphrey – Blacks and Blues

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“Chicago, Damn” – 6:31
“Harlem River Drive” – 7:50
“Just a Love Child” – 6:34
“Blacks and Blues” – 4:37
“Jasper Country Man” – 5:14
“Baby’s Gone” – 8:48

Bobbi Humphrey – flute, vocals
Jerry Peters – piano, electric piano
Fonce Mizell – clavinet, trumpet, vocals
Freddie Perren – synthesizer, vocals
David T. Walker – guitar
Chuck Rainey – electric bass
Harvey Mason – drums
Stephanie Spruill – percussion
Chuck Davis – vocals

Bobbi Humphrey website

Herbie Hancock – Thrust

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Track Listing:
“Palm Grease” – 10:38
“Actual Proof” – 9:42
“Butterfly” (Hancock, Bennie Maupin) – 11:17
“Spank-A-Lee” (Hancock, Mike Clark, Paul Jackson) – 7:12

Herbie Hancock – Fender Rhodes electric piano, Hohner D-6 Clavinet, ARP Odyssey, ARP Soloist, ARP 2600, ARP String Ensemble
Bennie Maupin – soprano and tenor saxophone, saxello, bass clarinet, alto flute
Paul Jackson – electric bass
Mike Clark – drums
Bill Summers – percussion

Herbie Hancock website

Miles Davis – On the Corner

1. On the Corner/New York Girl/Thinkin’ One Thing and Doin’ Another/Vote for Miles (00:00)
2. Black Satin (19:59)
3. One and One (25:19)
4. Helen Butte/ Mr. Freedom X (31:28)

Recorded on June 1 (A1), June 6 (B1-B2) and July 7 (A2), 1972.

Producer Teo Macero

Miles Davis – electric trumpet with wah-wah
Dave Liebman – soprano saxophone (A2)
Carlos Garnett – soprano and tenor saxophone (B1, B2)
Chick Corea – electric piano (A1)
Herbie Hancock – electric piano, synthesizer
Harold I. Williams – organ, synthesizer
Lonnie Liston Smith – organ (B2)
David Creamer (A2, B1, B2), John McLaughlin (A1) – electric guitar
Michael Henderson – electric bass with wah wah
Collin Walcott (A1, B1, B2), Khalil Balakrishna (A2) – electric sitar
Bennie Maupin – bass clarinet (B1)
Badal Roy – tabla
Jack DeJohnette, Billy Cobham, Al Foster – drums
Jabali Billy Hart – drums, bongos
James “Mtume” Foreman, Don Alias – percussion
Paul Buckmaster – cello, arrangements
Robert Honablue – engineer

Guardian review of the Complete On the Corner Sessions:

The most hated album in jazz
Paul Tingen
The Guardian, Thursday 25 October 2007

At the time, everyone loathed Miles Davis’s On the Corner – even the people who played on it. But now, reports Paul Tingen, some of the coolest names in music are proud to name it as a major influence.

“…It was the first hip-hop/house/drum’n’bass/breakbeat album I’d ever heard,” explains American musician and longtime Village Voice writer Greg Tate…”

“…In addition, producer Teo Macero did his wild cut-and-paste thing, which he had pioneered on Miles Davis’s In a Silent Way and Bitches Brew. Here, he went deeper than before into overdubbing and studio effects territory…”

Miles Davis website