Cosmologic – Eyes in the Back of My Head (Cuneiform)
San Diego is not recognized as a hotbed of jazz activity, but as with many things, it is often the case that a closer inspection can reveal true gems. Such is the case with Eyes In the Back of My Head. This is the group’s fourth offering, but their first for the legendary progressive/avant-garde/jazz label Cuneiform Records. The deal with Cuneiform will hopefully mean that Cosmologic will get the attention and exposure they deserve (their previous three albums are all on the Circumvention label, which has great titles but unfortunately, as with many small labels, poor distribution to retailers. They do however provide mail order service through their website). The group is made up of Michael Dessen (trombone), Scott Walton (bass), Nathan Hubbard (drums), and Jason Robinson (tenor saxophone). The compositions are group originals provided by Robinson, Dessen and Hubbard. Robinson has a wonderful brash tone, and is surely influenced by the usual suspects (Coltrane, Rollins, et al), but he plays with his own style, capable of both cooing melody and freak register grit. He performs some cool tongue fluttering technique on the opening minutes of Code View, and some crazed free blowing on Theme for Darfur. The rhythm section of Walton and Hubbard are also capable of both propulsive thrust and more obtuse embellishment (check Walton’s opening bow work on Dreams of an Alternate Future/Remembering the Past, or Hubbard’s ever changing procession of percussive texture on Code View). Dessen’s playing incorporates Roswell Rudd and Jimmy Knepper (who served as a longtime trombonist with Charles Mingus’ groups), as well as European greats like Paul Rutherford and Wolter Weirbos, using blurps, smears and other such devices to paint emotive solos and counterpoint. The songs, though composed by three different pens, somehow cohere into a unified statement of purpose, whether it be the storming the barricades high octane approach of The Rumpus or the title track, or the more thoughtful and reflective stance of Face in the Crowd or the Apex is the Whole. By the time the closing number, We Kiss in a Shadow on the Other Side of This plays out, with its final minutes devoted to a wistful, repeating figure stated by the horns over Hubbard’s mid tempo march pulse, one is most satisfied with the high level combination of soloing and creative composition. It is the combination of American free music with the almost formal style typified by the European ECM label’s artists that help to make it such compelling listening. The fact that all four members have played together for over ten years also adds an extra level of cohesion and intuitiveness. Fans of the Frank Gratkowski Quartet or some of Ken Vandermark’s groups owe it to themselves to get this disc.

Russian Circles – Station (Suicide Squeeze)
Since the release of their 2006 debut, Enter, two notable changes have occurred for Russian Circles. First, original bassist Colin DeKuyper left the group, and has been replaced by Brian Cook. Second, the group has taken the sonic template of Enter, i.e. an instrumental power trio that utilized the power and brutality of heavy metal and defined by unusual riffage and precise segues, and have added a certain amount of restraint and contemplation to the mix. This is not to say that Enter was completely devoid of quiet bits, or that Station lacks incisive bite, but one could be forgiven for thinking that while listening to the 6 ½ minute album opener Campaign, with its gentle picked guitar figures overlaid by subtle but intricate drumming (incorporating techniques like tapping the edges of the drums as if they were ride cymbals) by Dave Turncrantz. Even the second tune, Harper Lewis deceptively begins in this fashion before guitarist Mike Sullivan stomps the distortion box and the band descend on a series of crunchy and satisfying unison riffs that get the head bobbing in a most satisfying way. The album proceeds through this familiar territory during the title track, but by the time the last three tracks (titles being Verses, Youngblood, and Xavii) begin their assault, Russian Circle again deploy the tool of coloring the dark bits with shafts of lights, providing contrast to the molten cauldron of sound. As on Enter, a guest musician plays keyboards during certain passages to add an extra dimension of colour to the proceedings. After just one listen, one may feel Station lacks the consistent bluster and bravado that made listening to Enter so stimulating. But repeated exposures reveal deeper layers and complexities not found on the previous album, and that Station is every bit the equal of its predecessor. Both album share a quality in that they both beg to be listened to from beginning to end in one sitting, perhaps Station even more so than Enter, such is the structure where one tune bleeds into the next, similar to a suite. Ultimately, it is this risk taking by experimenting with an established sound or group style, while still preserving its identity that will enable groups like Russian Circles to remain at the forefront of instrumental rock music.