Requisites

Seven Steps To Heaven ~ Miles Davis | By Eddie Carter

This morning’s album from the library is a hidden gem in Miles Davis’s extensive discography. In 1962, his quintet was undergoing a significant transition. Hank Mobley departed to pursue a solo career, and the musical trio of Kelly, Chambers, and Cobb would soon become one of the most celebrated in jazz. Seven Steps To Heaven (Columbia CL 2051/CS 8851) is a product of two sessions by the trumpeter at Columbia’s New York and Los Angeles studios. His supporting cast includes George Coleman (tracks: A2, B1, B3) on tenor sax, Victor Feldman (A1, A3, B2), Herbie Hancock (A2, B1, B3) on piano, Ron Carter on bass, Frank Butler (A1, A3, B2), and Anthony Williams (A2, B1, B3) on drums. My copy is the original 1963 U.S. Stereo release.

Side One starts with Basin Street Blues by Spencer Williams. The first of three quartet performances opens with the foursome expressing the song’s softer emotions in the melody, featuring Miles using a mute. He sustains the gentle mood in the first solo before picking up the pace for a delightful conclusion. Victor gets into something good in a delightful reading ahead of the quartet, easing back into the theme. Seven Steps To Heaven by Miles Davis and Victor Feldman is off to the races from the rhythm section’s introduction to the quintet’s quick melody. Miles kicks off the solos, wailing, and then George swings vigorously into the second statement. Herbie takes an exhilarating turn next, preceding the reprise and close.

I Fall In Love Too Easily by Jule Styne and Sammy Cahn first appeared in the 1945 musical comedy Anchors Aweigh. Miles is back on the muted trumpet for the quartet’s tenderness and warmth during the melody. The leader’s opening statement is reflective yet quite beautiful. Victor expresses great care and thoughtfulness in the second solo until Miles returns to deliver a gorgeous climax. So Near, So Far by Tony Crombie and Benny Green kicks off the second side with the quintet’s medium theme. Miles gets things started on the open horn. George picks up the baton and really shines in the following presentation. Herbie has the final word and delivers a terrific performance into the ensemble regrouping for the closing chorus.

Baby, Won’t You Please Come Home by Charles Warfield and Clarence Williams is a blues song from 1919 that brings Miles back on the muted trumpet. Victor opens with a solo introduction ahead of the quartet’s touching melody. The trumpeter opens with a delicately tender interpretation; then Victor brings the solos to a close into the foursome’s thoughtfully graceful ending. Victor Feldman’s Joshua turns the temperature up one final time. Miles’s fingers snap the quintet to attention for the song’s lively theme. Miles steps up first in the spotlight with an enthusiastic performance. George takes over to deliver long, flowing lines that are equally satisfying. Herbie wraps things up with a festive finale that hits a perfect groove into the quintet’s reprise and completion.

Teo Macero produced Seven Steps To Heaven, although it’s unknown who recorded both sessions. It doesn’t matter, however, because this is a terrific recording with a crisp, detailed soundstage that sparkles. It is the first time George, Herbie, Ron, and Tony have recorded with Miles. George wouldn’t make another studio album with Miles, but appears on three live albums with this group, ‘Four’ & More, Miles Davis In Europe and My Funny Valentine. Hancock, Carter, and Williams formed the nucleus of Miles’s second great quintet and would remain with him for the next five years.

Victor turned down Miles’s invitation to join his quintet because he was a successful West Coast session musician, so he and Frank remained in California. If you’re in the mood for an excellent album of ballads and uptempo tunes and are a fan of Miles Davis from the early sixties, I highly recommend checking out Seven Steps To Heaven. It’s a stellar album that not only gives a glimpse into what was to come from The Second Great Miles Davis Quintet but also stands on its own as a title worthy of any jazz lover’s library. You’ll find it a rewarding addition to your collection, and I’m confident it will bring you hours of musical enjoyment.

~ ‘Four’ & More (Columbia CL 2453/CS 9253), Miles Davis In Europe (Columbia CL 2183/CS 8983), My Funny Valentine (Columbia CL 2306/CS 9106) – Source: Discogs.com ~ Baby, Won’t You Please Come Home, Basin Street Blues, I Fall In Love Too Easily – Source: JazzStandards.com © 2024 by Edward Thomas Carter

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Daily Dose Of Jazz…

Eddie Miller was born Edward Raymond Müller on June 23, 1911 in New Orleans, Louisiana. In his early teens he got a job selling newspapers, so he would be eligible for a newsboys’ band. His professional career began in New Orleans at 16, with his recording debut occurring in 1930 with Julie Wintz.

He went on to work in Ben Pollack’s orchestra and then stayed when Bob Crosby took over its leadership. He stayed with Crosby until the band broke up in 1942. He had his own band for a brief time after that, before being drafted. However, he was discharged from the military early because of illness.

Settling in Los Angeles, California he worked with Pete Fountain, appeared in most of Crosby’s reunions, did club work and also played with trumpeter Al Hirt.

As a songwriter Eddie composed Slow Mood, which later became known as Lazy Mood after Johnny Mercer noticed the tune and composed lyrics. Miller was inducted into the Big Band and Jazz Hall of Fame in 1998. He won numerous Playboy and Esquire Jazz polls. Miller finished his career as the lead saxophonist with Pete Fountain, living in New Orleans.

Tenor saxophone and clarinet Eddie Miller died at age 79 in Van Nuys, California of pneumonia on April 1, 1991.

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ADONIS ROSE QUINTET

Adonis Rose is a Grammy-award-winning drummer, composer, educator, and producer from the city of New Orleans, LA. He has played and recorded with the biggest names in Jazz, including Terence Blanchard, Betty Carter, Dianne Reeves, Marcus Roberts, Harry Connick, Jr., Wynton Marsalis, and many others.

He has performed on the most renowned stages in the world such as Carnegie Hall, Olympia in Paris, North Sea Jazz Festival, Umbria, Birdland, Apollo Theater, Newport Jazz Festival, and Jazz at Lincoln Center, to name a few. Rose has over fifty recordings to his credit (five as a leader), including six with longtime friend, trumpeter Nicholas Payton. In 2010, he won a Grammy Award with the New Orleans Jazz Orchestra for Best Large Ensemble.

Lisa La Touche is a proud Canadian and New Yorker, Lisa’s credits are world renowned. She was an original cast member in Broadway’s Shuffle Along, choreographed by Savion Glover and Directed by George C. Wolfe, where she received both the Fred Astaire Award and the Actor’s Equity Award for Outstanding Broadway Chorus. Her TV credits include the 70th Annual Tony Awards and Amazon’s Original “Z, The beginning of everything”. Previous highlights have also included touring with the Savion Glover production, Stepz, and also performing with both New York’s Off-Broadway and the North American touring casts of STOMP. Since 2010 she has run her own performance company Tap Phonics and has been commissioned to present for such organizations such as The Brooklyn Museum, 92Y, Gibney Dance and Fall For Dance North. As an educator and Professor she has taught for PACE University, NYU, The School of Jacob’s Pillow, University of Calgary, Decidedly Jazz Danceworks, Rosie’s Theater Kids and member of the creative council for the American Tap Dance Foundation. Her most recent endeavor has been writing and directing her debut film TRAX encompassing her journey back to Alberta while discovering important local black history. Above all, her proudest achievement greatest inspiration, is the gift of being a mom.

Phillip Manuel is a native of New Orleans, vocalist Phillip Manuel has been a mainstay at clubs and festivals worldwide, while performing with such greats at Terence Blanchard and Bill Summers. His recorded music career is known for classic interpretations of the Nat “King” Cole songbook as well as tackling intimate takes on James Taylor’s “Fire and Rain” alongside Ellington and Gershwin compositions.

THE BAND:

Adonis Rose – Drums | Phillip Manuel – Vocals | Lisa La Touche – Tap dancer | Miles Berry – Tenor sax | Max Moran – Bass | Seth Finch – Piano

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JACQUES LESURE

Jacques Lesure is a Detroit, Michigan native currently residing as a resident of Inglewood, California. His classic style along with his innovative approach to the music are integral to his signature sound. Emanating out of his association with mentors George Benson, Kenny Burrell and a host of others, one hears his own voice.

It is no secret that his music is rooted in the foundations of gospel, blues and improvised Black American music. It’s his belief that the sounds of today are equally relevant as the glory days gone by. It is that synergy that makes his music swing with a style like no other.

He is associated with the WJ# label and has recorded three albums to great reviews. He is an honorable member of GHJazz Collective where they are keeping jazz alive in Accra Ghana at +233 Jazz Bar and Grill.

 

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BOYCE GRIFFITH QUINTET

Boyce Justice Griffith is a soulful and melodic saxophonist and composer based in New York City. Known for his captivating melodies birthed from inescapable groove, Griffith has turned heads in his emerging career as a performer and composer. His work on the renowned label Outside In Music includes three singles, “Joe’s Blues,” “The Rule of Three,” and “Four In One,” as well as an EP titled “Tuning In.” Having studied under the legendary Wynton Marsalis and having performed regularly with world renowned pianist Marcus Roberts, Griffith’s music simultaneously embodies the acknowledgement of the tradition and the spirit of innovation that characterizes the genre, making him a standout artist in contemporary jazz.

Lineup:
Boyce Justice Griffith – Saxophone
Anthony Hervey – Trumpet
Tyler Bullock – Piano
Marty Jaffe – Bass
John Sturino – Drums

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