| | |  | Music | Home » » Four & More | | | | | | | Description: | | JAZZ | | | Features: | |
• Jazz
• Instrumental
• Trumpet
| | | Product Details: | | | Audio CD Release Date:
| March 15, 2005 | | Studio:
| Sony | | Number Of Discs:
| 1 | | Format:
| Original recording remastered | | Average Customer Rating:
|  based on 8 reviews |
| | | Track Listing: | | | 1. | So What | | 2. | Walkin' | | 3. | Joshua | | 4. | Go-Go (Theme And Announcement) | | 5. | Four | | 6. | Seven Steps To Heaven | | 7. | There Is No Greater Love | | 8. | Go-Go (Theme And Announcement) | |
| | | Customer Reviews: | |
Average Customer Review:
 ( 8 customer reviews )
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Most Helpful Customer Reviews
11 of 12 found the following review helpful:
 A wild ride...Feb 03, 2006
By Robert Bezimienny
This session bristles with energy. The pace is exhilarating! Aside from the astonishing virtuosity, the sheer verve of the music is uplifting - literally - it's hard not to have both feet tapping and find yourself leaning towards the edge of your seat. The remastered sound is excellent - great depth and breadth to the sound-stage, punch and drive from the bass, clarity and bite in the upper registers without any digital harshness - terrific immediacy - the sister recording, "My Funny Valentine", shares these virtues.
*
Miles is supercharged throughout. He deploys staccato volleys and wavering glissandos, going for an urgency rarely equalled on other recordings. George Coleman is of the same spirit, although he prefers a more classical, clean delivery of his torrents of notes - in the liner essay Miles is quoted as judging this night to be Coleman's best-ever performance. The entire essay by John Ephland is very interesting and has many nice turns of thought - for example, "Imagine, if you can, the sheer ecstasy, the rush of playing faster than you can think, the magical, perfect blend of technique with feeling spiralling out this way and that." A good summation of the listening experience. Tony Williams is a dynamic powerhouse - coupled with Ron Carter, the rhythm is impossible to ignore. In this context, Herbie Hancock is in danger of being overwhelmed, and while his work is fine and adds to the fire, this is not the best showcase of his wide talents.
*
The selection of these tracks from the February 1964 night at the Lincoln centre makes for a wild and exhausting listen - mixed with a few of the more reflective numbers played that night, from "My Funny Valentine", the ride becomes more comfortable and even more engaging. A stunning night's music.
6 of 6 found the following review helpful:
Light Speed JazzMar 01, 2009
By Robert Moran
"remoran"
I saw Miles play at least 10 times but sadly, not on the night of February 12, 1964 at Lincoln Center, the night his group created light speed jazz at tempos bordering on the unconscious. Tony Williams, the 18 year old prodigy, just took over and made these guys move in a way that simply is astonishing given just how experienced and talented a group this truly was. Every time I listen to this, I am struck by the spacing and openness of the sound and the power this group had in playing tunes they know by heart. It is a masterpiece that, in a round about way, is an up tempo salute to Kind of Blue, the greatest jazz album of all time as many of the compositions here are the same ones that Miles and Bill Evans penned for the earlier work. Absolutely one of the best jazz albums Davis ever did in this humble reviewer's opinion.
5 of 6 found the following review helpful:
Another summitMar 01, 2008
By B. J Robbins
Well, here goes. I like this album better than "Kind of Blue". Certainly, the personnel is its equal. A 19 year old Tony Williams is brilliant on percussion, setting a new standard for jazz drumming. A young Herbie Hancock, is wonderful on piano, at times playing sensitively, at other times very muscular, with a complex harmonic and melodic sense. And Ron Carter fills Paul Chambers' shoes quite adequately, actually much better than adequately; he is a joy to listen to. Miles? Well, he has never sounded better. How many times has he played "My Funny Valentine"? A million? Here, he has never played it better, like it was his first time. From his melody statement, and then solo, he brings out his bag of effects, half valved notes, mumbles, and the rest to produce a performance without peer.
George Coleman? Well, he is certainly no John Coltrane, but he does not try to be. If you listen to him, he is a unique blend of Hawk and Prez, with the sharp tone of Hawkins and the laid back rhythm at times of Prez. He can certainly run the changes, but he also capable of extremely lyrical passages.
Tony Williams is the driving force. He is much more subtle than Philly Joe, and his drumming is much more interesting. He is fascinating to listen to.
Ron Carter is a superb bassist and owes no one any apologies. As was the custom back then, the bass was another voice in the group, not just a time keeper, and Carter does it better than anyone, with uncanny intonation and feel.
The whole is much more than the sum of its incredible parts here, and that is why this concert was so great, and why this album belongs in any Miles Davis lover's collection. I bought the LP some 40 years ago, and the playing sounds as fresh and luminous as it did back then.
There were 865 reviews of "Kind of Blue" and 3 of this album. "Blue" was a landmark. But so was this album. As Miles (among others) said: "There are only two kinds of music. Good music and bad music." This here music is GGRREEAATTT!!!
10 of 15 found the following review helpful:
 Half of the Philharmonic show.Nov 03, 2005
By Michael Stack
On February 12, 1964, Miles Davis took his band (then George Coleman- tenor sax, Herbie Hancock- piano, Ron Carter- bass, and Tony Williams- drums) to perform at New York's Philharmonic Hall, recording the show for release. Not one but two albums were yielded from this recording, "Four and More" and "My Funny Valentine". By this point, this group was a well honed unit, and their work together on these two albums is fantastic.
"Four and More" tends to get the more aggressive pieces from the set-- the improvs tend to be more exploratory than "Stella By Starlight" (which is saying something as Davis and Coleman both reach pretty far on that record), and the rhythm section pushes the tempos way up. Davis is in fine form, tearing through "So What", "Four", "Seven Steps to Heaven" and the other cuts on the record with frantic soloing and energy, and Coleman is rarely left behind. Still, as exciting as the performance is, there's a bit of a sameness to it that detracts from the listening experience and Davis feels like a train wreck on "Joshua" where he sputters on the theme, falls over himself early on in his solo, and just seems to pump out frantically throughout the performance.
For all its faults however, "Four and More" is a decent performance and probably worth investigation. It's really a pity the show is not available intact outside of the "Seven Steps" boxed set, which sequences the pieces as they were performed and incudes one extra track.
A hurricane of beautyAug 08, 2011
By Michael J. Austin
I remember when I brought this record home and listened to it for the first time. It was mind-blowing and a precursor to the Mahavishnu Orchestra: unbelievable virtuosity at breakneck speeds.
See all 8 customer reviews on Amazon.com
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