With all the directions Joe Morris' playing has taken in recent years, it's interesting to get a chance to go back and hear the tried-and-true flights of fancy on which he made his name. In recent years he's veered toward Derek Bailey-styled extended sound with Agusti Fern�ndez (Ambrosia, Riti, 2011) and shredding approaching Ritchie Blackmore with Jamie Saft (Slobber Pup Black Aces, Rare Noise, 2013; Spanish Donkey, XYX, Northern Spy, 2011). Bucklash � a good, old-fashioned, quartet free improv chunk of skronk � gives us one chance to hear that old familiar Joe again.

It's not necessarily the case that Morris has given up entirely on his trademark style, issuing flurries of single-note runs direct from his solid-body without use of effects. The set presented on Bucklash was only recorded in 2009, during a live set at the Rising Sun in Reading, England. But Morris was such a singular artist for so long that the first impression the disc makes is one of reminder. The second impression is a dizzying exhilaration from the forceful playing of Tony Bevan. The saxophonist often favors the lower registers (this disc is released on his label and there's a reason it's called "Foghorn"). He did have his bass sax in tow on this date, but hearing him on tenor and especially soprano it's hard not to think that he won't blow the horn right out of his mouth.

The melody instruments are definitely out front on the record, but the rhythm section applies constant pressure and drive. Tony Buck is well known as the drummer for the longstanding minimalist improv outfit the Necks and has worked with Otomo Yoshihide, Lee Ranaldo and others, which is to say he's well attuned to group improvisation but not as often heard in a free jazz setting. He keeps busy with plenty of fast cymbal work and thrusting rhythmic moves. Oxford-based bassist Dominic Lash is the lesser known of the four, but has been gaining notice for work with John Butcher, Tony Conrad, Evan Parker and others. He's solid here but other records make a better case for him. He also recorded the gig, which is a bit ironic since the tape � seemingly a single mic from the audience � doesn't do him justice. The midrange and cymbals cut through, leaving Lash a bit in the dust. Still, it's a good document of a spirited gig.