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m_anderson

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Seven Steps to Heaven is here.


Tracks: 1 So What 00:00
2 Stella By Starlight 09:55
3 Seven Steps To Heaven 24:12
4 If I Were A Bell 45:45
5 All Blues 58:29

Credits
Bass – Ron Carter
Drums – Tony Williams
Piano – Herbie Hancock
Tenor Saxophone – George Coleman
Trumpet – Miles Davis

Recorded
in Juan les Pins, July 26, 1963.
I found a copy of this CD on Discogs when you first posted. There were not many. I didn't see any on eBay. Think it was around 30 bucks from Germany and like new condition. Absolutely excellent. Glad I bought it.
 
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JDA

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HERE'S A Mouthful of An Interview.....



"But yes, I was always conscious of the cymbals. I went backstage once at the Newport Jazz Festival and it was cymbal heaven... there was Zildjian, there was Paiste, and they gave 'em to me free. “Pick what you want, Sunny.” Philly Joe Jones was there, saying “I got this mama fletcher here...” (Laughs) I left there with a bag heavy as mess! I love cymbals. I don't like tom toms though – you really have to know how to mix them in with the other drums or they'll sound too separate."
 

JDA

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"
Do you agree with Milford Graves that certain percussion sounds can have a healing property?



I don't know, but I don't believe so much in that, I won't tell a lie. I'd be rich if I could do something like that, I'd have people lined up all the way round the block, the crippled and blind! (Laughs) No, I think music should be for music's sake, even if you have a very technical approach. I like Milford a lot, but basically I have the attitude of a bebop drummer regarding what I feel about music and other drummers. Milford didn't come from bebop at all. I love Roy Brooks, and Louis Hayes with those beautiful mahogany-looking hands, Eddie Blackwell that could just swing your head off, Steve McCall was the best surprise with the left hand I ever heard, Dennis Charles he'd just chug-a-lug you for ever. Elvin to me was like a spiritual guide because somehow, we had the same kind of time in life dropped on us both – you can listen to Elvin five years before he played with John and he sounds like just a very hip good drummer, but John gave Elvin the thing that Cecil gave me, a chance to redevelop and progress in his ideas."
 

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"
There's a story that you tried to burn down the offices of Downbeat after they gave you that award in 1966. Why on earth did you want to do that?



There wasn't any money involved. After seeing myself slowly come up the list above Billy Higgins, Frank Butler, over some of the baddest drummers in the world, it gave me a sense of artificialness. At the same time, there was evidence I couldn't ignore – one hundred jazz critics had voted for me, and by some fluke I won it. But my financial situation at the time with my family was rough, and if this award couldn't produce me some money, I didn't want it. So I went up to the Downbeat offices (there were a couple of musicians there at the time – Charles Davis, Don Pullen) to ask Don [de diMichaelis, Editor] if there was any money in it, and he told me no, very nicely. So I decided I was going to revolt. I took some paper from the secretary's trash can, and I made a bonfire on the floor and I started to burn my Downbeat award. The secretary called the police. There was smoke everywhere, and Don came out of the office throwing water on the fire, and I was getting pretty frustrated until I got a phone call to go to the lobby downstairs. Alan Silva was supposed to meet me there. Anyway, I went downstairs, and while I was there, sure enough, two big New York detectives showed up and went upstairs, and I waited twenty minutes until they left and went back up there myself, saying “Hahaha! I'm still here!” And Jane the secretary apologised and Charles said “Murray, that was too out. You calm down. I can show you how to get something out of this [award]. Just be COOL!” We went down to get a beer at the Five Spot with Don Pullen, and Charles somehow got me a gig straight away and it ended up with a record! (Laughs)"
 

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"Anyway, later that night Miles was playing and cussing at Tony and walking off the bandstand... I was at the bar and I finally met Ralph Gleason. Boy, could he drink that brandy. Him and Miles were sitting on the steps drinking big nice water glasses full of brandy. Shepp was there standing at the bar with me when Miles came to the bar for two more buckets of whisky or something, and Shepp said to me “Seems like Miles don't know who I am.” Miles looks at him and says [impersonates] “What are you drinking, Mister Ar-chie SHEPP?!” (Laughs) I was sitting in the dressing room later and Miles comes in wiping his mouth, and said “OK Sunny Murray, you know everything, right? What do you do when your lip is bleeding?” I said “I was MILES DAVIS I'd bleed all over the goddamn trumpet!” (Laughs) And just as he was going out of the door he turned and said “I'd be alright if it wasn't for you and your mess!” I said, “Is that an insult or a compliment?” And that night Tony got sacked!"
````````

"
Why do think Rashied ended up getting the gig with John?



I'll tell you the truth – John wanted somebody to play next to Elvin, and I turned him down. I had played with John three times in 1964, and the closest Elvin came to losing his job was me taking it. Buzz buzz the grapevine buzz buzz Sunny Murray's gonna be playing with John... At that period Elvin was getting high and mess, he'd get off the bandstand and his first wife – big tall white chick, real vampire junky – she'd be at the door... “Baby c'mon here...” And Jimmy Garrison saying “mama fletcher, you can't just go...” John asked me to sit in that first time because Elvin was arguing with Jimmy – Albert was with me – John came over quietly and said, “Sunny, how you doing? Would you like to play?” But Elvin was playing so great that night, it froze me in my tracks. After he jumped and ran Albert said “You still wanna do this?” I said, “Yeah...” And we played, man. McCoy sounded different, Jimmy was singing with me... it worked. Elvin came back and was sitting there with a drink and he was enjoying himself! I came off the stand and we had a drink together and we became buddies. He calls me Big Man ever since. I took John to a little festival Archie had put together at the Dome on St. Mark's Place, and there Milford was playing, Roger Black was playing and Rashied was playing... John said, “You wanna play some, Sunny?” I said, “I'm gonna show you something John about acoustics.” Roger Blank let me on his drums while Milford and Rashied were still playing, and when I started you couldn't hear nobody but me. I was using what Helmholtz calls “sound displacement”... a big sound displaces a small sound, like that story I told you about the siren. Later I told John “Elvin never let nobody play with you but me, and I'm never gonna lose the friendship I have with him... You're gonna make him hate me.” John sat there quietly and said, “Sunny, I hear a thousand rhythms...” Cecil was there, Leroi Jones was there and Jean Phillips was there when he offered me the job, if there's anybody out there don't believe me, they were there."
 

JDA

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JDA

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dang,

double-click

BqrPvPnCMAAAD2R




what are those drums..

that's Ed Blackwell very early on..

those aren't Gretsch //
6-lug 12
look like Slingerland or what
something Euro.

 
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JDA

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Don Cherry, tp; Charles Brackeen, ts; Charlie Haden, b: Ed Blackwell, d.
TownSound Studios, Englewood, NJ, January 26, 1968
 
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JDA

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Personnel[edit]​

there's somebody tapping a hand drum;
this album- more mellow than Interstellar Space
 
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JDA

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$380 2456g

$380 2524g

$440 2008g

$505.45 2240g

Don't anyone (you know who you are) Quote this; I am not thru.
ty
(can comment) full quotes slow page load)
 
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