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Seven Steps To Heaven

March 15, 2005 | Format: MP3

$6.99
Also available in CD Format
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Song Title
Time
Popularity  
30
1
10:27
30
2
6:23
30
3
6:43
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4
6:56
30
5
8:25
30
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6:58
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7
5:09
30
8
6:02
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Product Details

  • Original Release Date: March 25, 2003
  • Release Date: March 15, 2005
  • Label: Columbia/Legacy
  • Record Company Required Metadata: Music file metadata contains unique purchase identifier. Learn more.
  • Total Length: 57:03
  • Genres:
  • ASIN: B00138EX9W
  • Average Customer Review: 4.8 out of 5 stars 15 customer reviews
  • Amazon Best Sellers Rank: #58,721 Paid in Albums (See Top 100 Paid in Albums)

Customer Reviews

Top Customer Reviews

By Michael Stack VINE VOICE on November 2, 2005
Format: Audio CD
In 1963, Miles Davis was reeling a bit-- the Wynton Kelly Trio (Kelly, Paul Chambers and Jimmy Cobb) had just quit, leaving the trumpeter without his stellar rhythm section, and with both John Coltrane and Cannonball Adderley breaking ties the band, there was no one left from the band that recorded the triumph of "Kind of Blue". "Seven Steps to Heaven" tracks the evolution of Davis' working band over three sessions in early 1963-- the last studio work he'd do until early 1965.

The first two sessions recorded here find Davis in the company of tenor saxophonist George Coleman, pianist Victor Feldman, bassist Ron Carter, and drummer Frank Butler. The pieces from this session are primarily standard ballads-- "Basin Street Blues", "I Fall In Love Too Easily", "Baby Won't You Please Come Home" and "Summer Night" (a bonus track originally issued as part of "Quiet Nights". All four feature Davis superbly lyrical-- he seems particularly inspired by the somewhat underrecognized Feldman, whose lovely and emotive frameworks set up simply fantastic environments for Davis to solo and the ever-brilliant Carter to counter. This is all particularly obvious on the stunning reading of "I Fall in Love Too Easily", destined to stay in Davis' live repetoire for over seven years (extraordinarily rare for Davis, he tended to play songs live no more than a couple years, sometimes even less) and still featured into his "fusion" period. Coleman's only appearance from this session is the performance of "So Near, So Far" (again a bonus track originally issued on the odds-and-ends album "Directions"). The performance is pretty lifeless, with neither Davis nor Coleman particularly inspired.
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Format: Audio CD Verified Purchase
Miles Davis was one of the greatest jazz trumpeters of our time. His need for change, exploration, and experimentation will remain his legacy. I think anyone who plays or listens to jazz owes it to themselves to check out Miles Davis. That being said, "Seven Steps To Heaven" is a one of his greatest recordings of the 1960s.

Recorded in 1963 in Los Angeles and New York, this recording remains a somewhat overlooked album in Davis' vast discography. The reason I think it is overlooked is because it features Miles playing more ballads. I believe ballads are what made Miles Davis great and that's why if anyone loves ballads, then "Seven Steps to Heaven" would be a great purchase. Of course, tunes like the title track and "Joshua" are both uptempo and feature some really swinging rhythms and hot soloing. "Seven Steps To Heaven" also feature three of the greatest musicians from contemporary jazz: Herbie Hancock, Ron Carter, and Tony Williams. This is the first time they played with Miles Davis on record.

The musicians on this album are all stellar and are given plenty of room to stretch out. Here is the lineup for this album:

Miles Davis - trumpet
George Coleman - tenor saxophone
Herbie Hancock - piano (tracks 2, 4, and 6)
Victor Feldman - piano (all other tracks)
Ron Carter - bass
Tony Williams - drums (tracks 2, 4, and 6)
Frank Butler - drums (all other tracks)

Despite what people say and what they feel is the greatest Miles album, I feel that "Seven Steps To Heaven" is right there with some of his best work. I own 35 albums by Miles Davis and I can't believe I waited so long before I bought this album.
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Format: Audio CD
This album is a great collection of songs from two different collctions of good musicians. Over the years, I have always preferred Miles' era with Gil Evans (Miles Ahead, Porgy & Bess, Sketches of Spain), but this album, in 1963, brings a more crisp & refined sound. The opening cut ('Basin Street Blues') is absolutely marvelous, and Victor Feldman shines on a soft, emotional piano solo about midway through the song. All the songs (including the bonus cut: 'Summer Nights') are thoroughly enjoyable with peaceful melodies. This album is a winner, and should be considered as one Miles Davis' best... very close to being 'heavenly'.
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Format: MP3 Music
Just as Miles Davis kept making new directions in his music while maintaining
a world class profile in the early-1960’s, he scored another important landmark in
1963 when he recorded and released this time-honoured masterpiece that would
become his most traditional jazz album as it pointed to the direction of where the
master jazz trumpeter was heading during the 1960’s. Recorded in Los Angeles
and New York City, Seven Steps To Heaven is this groundbreaking achievement
done in two settings--one a sophisticated band consisting of gifted session tenor
saxophonist George Coleman, the brilliant Victor Feldman and session drummer
Frank Butler, while the other setting features pianist- composer Herbie Hancock,
the astounding 17-year old jazz drummer Tony Williams and Ron Carter on bass
--as they a magical uplifting listening experience. By combining the elements of
easy-listening jazz and hard bop in topsy-turvy fashion, the track set begins with
a relaxed take of Basin Street Blues, the elusive track set then proceed head on
with the upbeat original title track, I Fall In Love Too Easily, the fantastic original
So Near, So Far; his slick reindition of Baby Won’t You Please Come Home and
the electrifying Joshua. What made Seven Steps To Heaven a true blockbuster
hit was that it nonetheless made the world of jazz sit up and take notice where it
showcased astonishing ballad playing by Miles which was tersely lyrical as ever,
but there was a new sense of warmth in the standards while there was even the
even the full-bodied bracing work of the trumpet titan on the set’s three uptempo
original classics, which made it a stirring listening experience.
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