Jack DeJohnette and Billy Hart, and keyboardists Herbie Hancock and Chick Corea. On the Corner utilized three keyboardists like Bitches Brew while pairing Hart—who had played in Hancock's Mwandishi-era band—with DeJohnette and two percussionists. Hancock's reed player, Bennie Maupin, played bass clarinet and Dave Liebman was recruited as saxophonist. Jazz historian Robert Gluck later discussed the performance: "The recording functions on two layers: a relatively static, dense thicket of rhythmic pulse provided by McLaughlin's percussive guitar attack, the multiple percussionists, and Henderson's funky bass lines, plus keyboard swirls on which the horn players solo. Segments of tabla and sitar provide a change of mood and pace. Aside from 'Black Satin,' most of the material consists of intense vamps and rhythmic layering." Compared to Davis' previous recordings, On the Corner found the musician playing the trumpet scarcely, instead often playing keyboards. It also saw his producer, Teo Macero, employ cut-and-splice tape editing procedures (pioneered in the late 1960s on In a Silent Way) to combine various takes in creating a single cohesive work. which also allowed Macero and Davis to overdub and add effects. Some of the musicians expressed misgivings about the unconventional musical direction of the sessions: Liebman opined that "the music appeared to be pretty chaotic and disorganized," while Buckmaster stated that "it was my least favorite Miles album." Packaging The album cover featured an illustration by cartoonist Corky McCoy depicting ghetto caricatures, including prostitutes, gays, activists, winos, and drug dealers. The packaging only featured one stylized photograph of Davis, and was originally released with no musician credits, leading to ongoing confusion about which musicians appeared on the album. Davis later admitted to doing this intentionally: "I didn't put those names on On the Corner specially for that reason, so now the critics have to say, 'What's this instrument, and what's this? ... I'm not even gonna put my picture on albums anymore. Pictures are dead, man. You close your eyes and you're there." Reception On the Corner was panned by most critics and contemporaries in jazz; according to Tingen, it became "the most vilified and controversial album in the history of jazz" only a few weeks after its release. Saxophonist Stan Getz proclaimed: "That music is worthless. It means nothing; there is no form, no content, and it barely swings." Jazz Journal critic Jon Brown wrote, "it sounds merely as if the band had selected a chord and