Eric Revis, longtime bassist in the Branford Marsalis Quartet, has earned his own acclaim as a bandleader—particularly for his Clean Feed output with adventurous pianist Kris Davis on City of Asylum, Crowded Solitudes, and Sing Me Some Cry. On Slipknots Through a Looking Glass, Revis takes the logical step of recording for Davis’ young and impressive Pyroclastic label. He retains Davis and drummer Chad Taylor from previous lineups and adds the richly contrasting saxophones of Bill McHenry (tenor) and Darius Jones (alto). Marsalis bandmate Justin Faulkner joins on drums as well, stirring mayhem with Taylor on the penultimate track, the free-jazz blowout “Vimen.” Davis makes frequent use of percussive, enigmatic prepared piano textures, an increasingly prominent tool in her kit. The sheer sonic weight of Revis’ attack on bass is remarkable. His vision as a leader is raw and highly improvisational, but also cohesively rhythmic and melodic, even as he colors way outside the lines with the abstract title track, an overdubbed ambient dual bass feature split into three parts. “SpÆ” has a pared-down, chamber-like quality with just bass, piano, and the metallic motor of Chad Taylor’s mbira. The twilight lyricism of the paired saxes on “Earl & the Three-Fifths Compromise” and “When I Become Nothing” hints a bit at Ellington and Mingus, while “Shutter” bursts with a punk-rock energy that’d fit right in next to The Bad Plus.