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However, Prince went on to have as much of an impression on the
sound of funk as anybody artist since Brown; he mixed
eroticism, technology, an growing musical complexity, and an outrageous picture and stage present to in the end create music as
formidable and imaginative as P-Funk. Eventually, the band went on to outline
their very own style of stripped-down funk primarily based on tight musicianship and sexual themes.
Hancock's Headhunters band (1973) played
the jazz-funk model. Summers blended African, Afro-Cuban, and Afro-Brazilian devices and rhythms into Hancock's jazzy funk sound.
The Headhunters' lineup and instrumentation, retaining
solely wind player Bennie Maupin from Hancock's
earlier sextet, mirrored his new musical path.
Also cited as musical influences on the album by Davis were the contemporary composer Karlheinz
Stockhausen. Davis said that On the Corner was an attempt at reconnecting with the
young black viewers which had largely forsaken jazz for rock and funk.
Rock bands started adopting components of funk
into their sound, creating new mixtures of "funk rock" and "funk steel".