Label: ESP-Disk, 2025

Personnel - Joe Morris: guitars, effects; Elliott Sharp: guitars, electronics.

This revolutionary collaboration between two creative minds, guitarists Joe Morris and Elliott Sharp, offers a vivid snapshot of their deep-seated commitment to free improvisation and disruptive innovation. Drawing from indecipherable yet hypnotic idioms, they construct and deconstruct in pursuit of musical evolution, making Realism a scrabbling provocation where their playing is often pushed to the very edge.

“Shapes Mentioned” emerges with a heady mix of dissonance, drones, percussive strikes, cleverly deployed electronics, and deceptively undemanding guitar noodling that immediately commands attention. The duo—whose artistic temperaments mesh seamlessly—venture into uncharted sonic realms, yielding compelling results. “Neither Odd Nor Even” is exquisitely layered, as Morris and Sharp manipulate their strings in a search for singular timbres, crafting a pointillistic randomness that evolves into a flurry of buzzing and humming tones shifting in pitch. The space, surrounded by harmonic bubbles inflated by unexpectedly potent effects, brings the essence of the blues—or a raw, country-blues pummel—woven into the core of their sound, apparent even when navigating its darker undercurrents.

Strident, euphorically compulsive scrapes and robotic wha-wha utterances flood “Light Asking”, which extends beyond clattering electronics into a cryptic dialogue of frequencies. “Soft Version” floats with eerie drones braided into intriguing acoustic chords and shifting textures—an eternal puzzle resisting resolution. It proceeds through dual staccato motifs that steadily intensify. In contrast, “Arrokoth” radiates avant-garde and electro-rock vigor, balancing intensities, noises, and timbres while sonically picturing the outer space.

Morris and Sharp embrace experimentation fearlessly, often creating spiraling movements with intricately layered textures and enigmatic moods. Realism is an unrealistically original work, a bold mirror of the adventurous spirit that defines its creators.

Favorite Tracks:
01 - Shapes Mentioned ► 02 - Neither Odd Nor Even ► 05 - Soft Version

Label: ESP-Disk, 2025

Personnel - Larry Ochs: tenor and sopranino saxophone; Joe Morris: bass; Charles Downs: drums.

Saxophonist Larry Ochs teams up with Flow Trio’s rhythm section—bassist Joe Morris and drummer Charles Downs—for this fully improvised session. Despite the trio never having played together before, they generate moments of noisy frisson, though not enough to make the material truly memorable.

From the outset, they push toward the ‘outer’ limits, frequently skirting the aggressive edge of sound in a freewheeling display of musical camaraderie. The opening track, “Yay-Hidee-Yonk-Yoh”, is high-caliber, shifting from a layered blend of bowed bass, sweeping sopranino phrases, and fluid drumming into a more grounded interplay of bass pizzicato, low-pitched tenor, and awkwardly marching drum patterns. The second track, “Yonk-Hidee-Yo-Yay-Yay”, begins with bass and drums bleeding into each other, creating a homogenous tapestry over which Ochs delivers an expressive vocabulary filled with pungent tenor growls and infectious aplomb.

“Hiddee-Yay-Yoh-Yonk-Yohhh” continues the pattern of playfully odd titles but is brimming with wry gestures that spread tension throughout. Jarring saxophone bursts punctuate the frantic free playing, while the rhythm section maintains a solid comping presence. However, the album tends to feel dense and somewhat repetitive, lacking standout moments. That said, the tangled title cut, “Every Day-All the Way”, introduces early sopranino flights and serrated arco bass textures before attempting a fresh build midway, evolving from a soft mutter into an unstructured sonic mesh.

Unpolished and raw, this date grows somewhat tiresome by the second track, leaving an impression of potential left unrealized.