Miles Davis - Seven Steps: The Complete Columbia Recordings 1963-1964

This set covers the transitional period between Miles two (mostly) fixed groups: The first group was the one with Coltrane, Paul Chambers and Philly Joe Jones and a rotating cast of excellent pianists and later the induction of Cannonball Adderley. This managed to stay fairly constant from some of the later Prestige sessions (Cookin’, Relaxin’, Workin’ and Steamin’; all some of my favourite works in the overarching history of Miles Davis) through until Kind of Blue four years later. The second quintet worked from 1965 through until 1968 and is considered one of the best jazz bands in the world ever. The theme here is transience. Miles begins to play the standards faster, working towards the more youthful approach of the second quintet who gradually assemble over the course of these seven discs.

One thing worth addressing: The rest of the material from Someday my Prince Will Come should have appeared at the beginning of this set. As of now, the only way to get the Mark Wilder mix of that album is to buy it separately. It marked the departure of John Coltrane and marked a significant change in the sound of Miles’ music. Now that that’s out the way, the set begins with, conveniently enough, the session material for the original LP Seven Steps to Heaven. The first track is an alternate take of the record closer Joshua which is slower than the master but bounces more smoothly and has warmth which isn’t quite there in the version on the LP. Had it not quite obviously reused the theme from Bye Bye Blackbird I would have rather it been selected as the master but this is a major indication that it was always intended as a working demo rather than for serious inclusion on the record. Nonetheless, it remains my favourite track on the whole set.

Over the course of the sessions for this single record alone the pianist changes from Victor Feldman to Herbie Hancock, who stayed with Miles and appeared on every studio album up until On the Corner in 1972, with the single exception of Live-Evil. Feldman has a much more laid back, airier, bluesier technique than Hancock does.

As far as the live material goes my appreciation has been roughly proportional to fidelity. The Antibes shows were mixed to mono with bass way too far back in the mix. The Lincoln shows are in a clear, well separated stereo field. Listening to the music is easier when you can hear it better, it is these shows that stand out the most, and the Tokyo show is very good as well, but the Berlin one is again not quite as defined. The playing on all the shows is very good as a whole.

This is probably the least essential of the metal spine series, with the probable exception of some of the Jack Johnson sessions. It’s still a good purchase, just a little hard to justify next to Miles and Coltrane or the Second Quintet sets at the same price.

Joshua (alternate take): http://www.youtube.com/watch?v=eJ4_5n9wS0U