Customer Reviews

Seven Steps to Heaven

5 star:		(10)
4 star:		(4)
3 star:		(0)
2 star:		(1)
1 star:		(0)

 

 

"Seven Steps To Heaven" is one of those albums that you have to take in stride and listen to track by track and not so much as a cohesive album.

Miles was in a state of flux in 1963. His quintet with Hank Mobley, Wynton Kelly, Paul Chambers, and Jimmy Cobb had been disbanded, and Miles had been recording with Gil Evans. When the time came for a new lp, Miles was still working on getting a steady group together. So, in fact, this lp is in fact 2 ep's, as 2 different groups play on this lp, each with a very different character from the other.

Group 1- Miles, George Coleman (tenor), Victor Feldman (piano), Ron Carter, (Bass), Frank Butler (dr) (tracks 1,3,5). This group is quite traditional in outlook, and the tracks played show this. Miles' beautifully heartfelt performances are backed perfctly by Feldman's supple and understated piano. This group proved that Miles could pack a wallop on the standards. The tenor of Coleman and Carter's bass compliment Miles and Feldman very well. As a fan of jazz, I very much enjoy what this very short lived quintet did (2 days in April 1963 was the life of this group).

Group 2- Miles, Coleman, Carter, Herbie Hancock, Tony Williams. 4/5 of what would be the 2nd great quintet are in action on tracks 2,4,6. The character of the band is immediatly felt on "Seven Steps to Heaven" (group 1 also recorded the song, as well as "So Near So Far"- track 4- and "Summer Nights", which landed on the "Quiet Nights" lp; perhaps at some point both takes of both of these songs will be on a remastered version of this lp to showcase the very different interpretations of the songs by the old and new guard), as Ron Carter's walking bass is pushed by Williams' drumming. Herbie Hancock's style is also apparent- a more open style as opposed to Feldman's more traditional block chord style.

If looked at as 2 ep's, the works are excellent, regardless of which group reocrding what. As a collective lp, it is made weaker by the diametrically opposed styles of the 2 groups recording it, and thus falls out of favor with many Miles fans who deem it inconsistent. It is not inconsistent at all, I can assure you. What it is, however, is a fine collection of songs and the first glance of the men who would make Miles famous again in the mid to late 60's and change jazz forever.

This album definitely is an overlooked classic. The original versions of "Joshua" and the title track are worth the price of admission; "So Near, So Far" is absolutely beautiful. Add to that a chance to hear the underrated Victor Feldman on the ballad portion of the album (especially "I Fall in Love Too Easily"). But the greatest thing about this recording is the debut of what was the rhythm section to end all rhythm sections: even this early as a unit, Herbie Hancock, Ron Carter, and the late Tony Williams sound awesome.

In 1963, the Kelly/Chambers/Cobb rhythm section packed up and left, leaving Miles Davis without a band. Despite being at an age when most musicians would rather sit on their laurels and play on some giants of jazz tour, he decided to assemble a new working band. This CD shows that assembly in progress. The three ballads were recorded in LA with George Coleman (tenor sax), Victor Feldman (piano), Ron Carter (bass), and Frank Butler (drums). "Basin Street Blues" is very different from Louis Armstrong's version -- Davis's trumpet playing is much sadder, merging abstraction and the blues. But the real treasures in the set are the three tunes recorded one month later with Carter, Coleman, and two younger musicians: pianist Herbie Hancock and drumming prodigy Tony Williams. Williams, only 17 years old here, generates an incredible level of excitement on "Joshua" and the title track. These may be the most exciting up-tempo tracks Davis had recorded since "Two Bass Hit" and "Straight, No Chaser". The quintet with Coleman, Hancock, Carter and Williams would soon evolve into one of the trumpeter's greatest groups, and this is where they got started.

This album, which was recorded in 1963 by Miles with two separate groups, seems to have a bit of a transitional feel to it. However, don't let that fool you. This is a gem. The Los Angeles studio group is quite excellent, with Victor Feldman on piano (who is absolutely AMAZING on this album), Ron Carter on bass and Frank Butler on drums. The other group is Miles's second great Quintet minus Wayne Shorter with George Coleman on tenor saxophone. I love how there is a contrast throughout this album. Slow tune, faster tune. It's a brilliant pattern. I was extremely surprised by Miles's haunting rendition of "Basin Street Blues", a song Louis Armstrong made famous. However, Miles puts his own spin on it, with his harmon mute and a slow, ballad feel. Victor Feldman plays the most beautiful piano solo here also, just butter. He swings like crazy. The title track is a speedy hard bop classic featuring Miles and Coleman bouncing off of each other's ideas and Herbie Hancock holding everything together brilliantly. The energy here is astounding. Miles is almost struggling to keep up with these young cats, because they're real sparkplugs. "I Fall In Love Too Easily" is another beautiful ballad that became a part of the standard repertoire for Miles. He went on to record this piece several times (see the Fillmore live albums). He plays it with the harmon here and it's wonderful. "So Near, So Far", is a brilliant mid-tempo piece which is perfectly titled. It swings soulfully. Miles really uses some excellent upper register in this solo and gets up there very nicely. Coleman is in his usual form and Herbie sounds cool as ever. "Baby Won't You Please Come Home" is yet another look at the muted ballad style of Miles. Very relaxed, yet ready to split at any minute he would choose to. "Joshua" is the final piece and is a speedy romp which really looks forward to what the Quintet would be doing in the future. Fine hard bop.

If you're looking for a good Miles album from the 1960's with the type of sound he had back then, this is a good one to look at. Very under-rated work.

Although "Seven Steps To Heaven" is one of Miles Davis's lesser known releases, it is one of his greatest. The music is from two 1963 recording sessions separated by a month and a country: one session went down in New York City, the other in Hollywood. The New York date features Miles, tenor saxophonist George Coleman, pianist Herbie Hancock, bassist Ron Carter, and drummer Tony Williams. The Hollywood session features Miles, Coleman, and Carter with pianist Victor Feldman and drummer Frank Butler. Most jazz recordings start with an uptempo swinger. "Seven Steps To Heaven" leads off with a moody "Basin Street Blues." It alone is worth the price of this CD. Miles never played a ballad better and that's saying something! He is lyrical and sparse; there is not a wasted note. Victor Feldman follows with an equally memorable piano solo. All of the other cuts are of the same high quality. If I had to choose a second it would be the swinging "Joshua." It's a Victor Feldman composition but it was one of the cuts recorded in New York with Herbie at the keys. Another joy on this recording is the underrated George Coleman. It has been reported that Tony Williams did not like his playing in the group and wanted George out and Wayne Shorter in. While I do love Wayne, I'm glad George had the chance to shine here. I have talked to Mile Davis fans who have heard of but never actually heard "Seven Steps To Heaven." If you are in this category don't delay, get and enjoy this classic.

Firstly, I've played enough jazz to know what MY opinion of Miles is worth (irrelevant). It's exquisite, another classic. You need amateur reviews to know that? 5 stars because we owe you, man.

But: some reviewers have pointed out that this disc really has two bands on it. Rather than being a clash, or forced mixture, or a product of some rush to fulfill a contractual obligation, I think Miles was playing a bit of a joke on us. Look at the way the groups alternate tracks (1-3-5 vs 2-4-6) and styles (more traditional, more cool). It's almost a 2-step dance. I think the arrangement of tracks on this album is an ironic comment (besides being a pleasure to listen to), a kind of straddling of two worlds, one of which he knew intimately and the other he helped create. Which way to heaven, yo? Back to childhood, roots, beautiful and familiar or into the exciting but uncharted future? He's not sure yet, and he doesn't give us the answer. There are 6, not seven tracks. We haven't got there yet.

Don't worry, Miles will show us the way. He usually does.

I have a modest collection of Ellington, Miles, Monk, Marsalis, Coltrane, and others, and I play this CD often. It starts out with a laid back feel goes into a sunny day then sits you down with your lover. After that it does it again. The album does not have a continuing string like Sketches of Spain, but it is great for any avid listener.

This is a recording that shows a more mellower side of Miles Davis. On this album he is not on the edge of bebop, hardbop or fusion as he is well known for. Yet this is a pleasant album to listen to because it is rare to hear Davis in a "mellow laid-back" mood as he is on this. Is it one of his finest? No. Is it one of his worst? No. Is it nice to listen to? Absolutely Yes! This is an album for those Davis/Jazz enthusiasts who don't want to analyze every song on here to see what he was trying to convey to the public, it is for those who just want to "lay-back" and listen to the brilliance of Miles...

This Is Miles At his Smoothest- No Games No Headaches Just Straight Jazz At It's Very Best.This Is The Real Miles Davis You Should Now- Cool As The Other Side Of The Pillow!

Miles' regular group is in top form on the last four cuts. As an added treat we get two cuts with Victor Feldman and Frank Butler. The title cut is almost a mini drum concerto for Frank, who demonstrates why Jo Jones called him "the best drummer in the world."