The versions of "Seven Steps to Heaven" recorded during this session were superseded
by the more outgoing versions recorded with the Hancock-Carter-Williams rhythm section
a month later in New York.
The problems Davis had throughout 1962 with keeping a working group continued into
1963. His quintet was booked at the Philadelphia's Uptown Theatre from December
25, 1962 through January 1, 1963 (Wednesday-Tuesday); in addition to missing one
of the sets on December 25, Davis walked out and missed the last two nights (and
was later ordered by the musicians' union to pay the promoter $8000). A two-week
engagement at Chicago's Sutherland Lounge, January 30-February 10 (Wednesday-Sunday)
was followed by the sudden departure of Wynton Kelly and Paul Chambers. Davis was
forced to cancel an eight-day engagement at Gino's Club in St. Louis, February
15-23 (Friday-Saturday). He was booked for two weeks at the Blackhawk Supper Club
in San Francisco, March 5-17 (Tuesday-Sunday), but the opening was delayed for a
week while Davis recruited some West Coast players. In addition to Jimmy Cobb, he
ended up with Frank Strozier on alto, George Coleman on tenor, Victor Feldman or
Harold Mabern on piano, and Ron Carter on bass (at the time Carter was playing with
Art Farmer). The sextet played a ten-day gig at Shelly's Manne-Hole in Los Angeles,
April 5-14 (Friday-Sunday). Cobb, who was planning to leave the Davis group later
in the summer, left in mid-April after a dispute about money. He returned to New York
and joined Wes Montogomery in the studio on April 22. Before leaving, he
recommended Frank Butler, and the quintet -- Feldman on piano, Butler on drums and
without Strozier -- went into Columbia's Hollywood studios for these sessions. Butler
remained in Los Angeles and the rest of the group returned to the East Coast, where
they were booked for one night at the Lyric Theatre in Baltimore (May 9; "The Miles
Davis Quintette" was listed as Davis, George Coleman, Frank Strozier, Harold Maybern
[sic], Jim Cobb. I can't believe that Carter didn't play with the group, so either
it was not a "quintette" or else one of the horns, probably Strozier, didn't play).
Davis fired Strozier and Mabern soon afterward, hiring Hancock and Williams; and
the new Miles Davis Quintet -- Davis, Coleman, Hancock, Carter, Williams -- went
into Columbia's 30th Street Studio on May 14, then hit the road: Bowdoin College,
Brunswick ME (May 17 -- listed as the Miles Davis Sestet); Jazz Villa, St. Louis
(May 27-June 4); Sutherland Lounge, Chicago (June 5-16); Jazz Temple, Cleveland
(June 20-23 -- listed as the Miles Davis Sextet); Village Vanguard, New York (July
2-14).
Much of this material has been issued on The Sessions of Seven Steps (Mega
Disc Legendary 041617 and 0514).
I am grateful to Tommaso Urbano, Bill White, and Fernando Ortiz de Urbina for help
with this session.
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