Logan's style is characterized by shifting storm-like rhythms, an emotional nakedness and desperation, and a feeling of racing in circles.  Sonically, "More" is not as abrasive as the majority of 'free jazz' players then or since.  Logan understands the need for space and sparsitude, shown in the second 5 minutes of the epic "Shebar", which have a filmic, science fiction ominousness: this is an exploration of alien and dangerous territory.  There is many a lurid hothouse melody issued from Logan's flute, and I am nearly reminded of Alban Berg.  This recording shows powerfully how the worlds of avant classical and jazz were intermingling at this point in history.  The surreal feeling is strong here.

Logan's music has dynamics, diversity, and a narrative aspect that many of his peers (Ayler, Gayle) lacked, fiercely devoted to expelling their demons (or expressing their equally violent joy) as they were.  Those artists' music was like a scream, a release signifying the ongoing struggle; Logan only reaches this point at the absolute heights of his crescendos.  His style is instead a trek through a dream landscape, in which each image is revelatory and marvelous but fleeting, and dissolves to be quickly replaced with another.

Milford Graves' drumming has a formidable presence in the 3 tracks in which it is featured.  His sense of timing is truly elastic, with so many light and controlled taps cascading up and around the kit.  He is largely responsible for the band's storm-like rhythm.  Pianist Don Pullen also gives a notable performance, unleashing gushing torrents of short pitches in a constant watery stream.

There are parts of this this remaster that sound great, and the nuances of the many tense, almost silent moments of restrained interplay are pleasingly audible.  The EQ is a bit strange, with the low end feeling a little unnaturally massive, but it's a very listenable and warm recording.  However, there are few a nasty stabs of distortion (such as on the opening cymbal crash) that had me turning the volume knob down.  The liner notes explain that this distortion is in the master tapes, and could not be helped.  In my opinion, they should have at least softened it.

Logan's piano solo "Curve Eleven" is filled with hypnotic nocturnal melodicism.  Unfortunately, it is here that we find the most distortion on the master tapes.  With every chord played above a 'mezzo-forte' erupting into a very shrill pocket of static, it's not possible for me to simply tune out the audio flaws in this piece, especially since it's not in the slightest an aggressive track, rather the most beautiful and sensitive on the album, evoking Debussy or Messiaen over Logan's free jazz peers.  I'm tempted to track down the original issue of this LP to hear what the original master sounds like.

The best thing about this CD issue is the extended version of "Shebar", twice as long as the original at 19:24, and containing a great many moments essential to the flow of the track.  I never heard it without the final 10 minutes, but according to the liner notes there was a fade out around 9 minutes, right in the middle of one of my favorite sections.

The closer "Wretched Saturday" is a deep sweltering blues, capped with a fantastically whimsical string bass solo, and the purest, saddest melody to be found on the entire album from the saxophone.  It's one of the best and most conventionally musical tracks.  There is serious soul to be found.

The cover image is powerfully affecting, astounding.  A hillside/cliffside is pictured, in which countless faces and figures are visible, like one's ancestors, or life's cast of characters.  It causes me to further ponder the existential implications of such a form of music, in which studied musicians disregard all they've been taught make whichever assymmetrical, rhythmically liberated patterns and animalistic bleats they choose.  Despite all attempts at structure, our biological nature emerges.

So, Giuseppi Logan's "More" is a magnificently otherworldly journey for the mind, a primal and primitive yet listenable and diverse entry into the free jazz canon.  This music unquestionably receives a perfect rating rom me.  This re-issue, however, is a mixed bag.  The new music featured at the end of "Shebar" is wonderful and essential, however the version of "Curve Eleven" found here is simply unacceptable.  Still, I highly recommend this CD to any open minded fan of jazz who can handle music without rules beyond those set by the intuition.