Here’s a pianist that has lots of creative ideas along with a unique approach and touch. One album is a solo disc while the other one mixes and matches various combinations in an intriguing manner.
Piket’s Solo album is impressive in that, unlike so many contemporary pianists, she uses all ten fingers as well as the entire piano. You can hear each digit pondering the keys as she digitally ruminates over jazz covers (mostly) such as an inquisitive “I See Your Face Before Me” and a ruminating “Estate.” Wayne Shorter’s “Nefertiti” undulates like evening tide, while her treatment of Monk material is alert and adroit. She’s patient with a melody and doesn’t rush into anything, allowing each note to say something important. Sort of a modern day version of Earl Hines’ famous solo discs of the 60s
With her long intro to Bill Evans’ “Laurie” on the Sides, Colors album, you might think that this album is also going to be a solo performance. Yet, she’s full of surprises as on this and a couple other tunes she throws a curve by bringing in the elliptical sounds of trumpets, flugelhorns, clarinets, flutes and saxophones by David Smith, Charles Pillow, Anders Bostrom and Sam Sadigursky respectively along with a vulnerable string quartet. Each of these excursions such as “Billy’s Ballad” are filled with textures and directions that take you on wondrous territories. The electric piano o “Idy’s Song and Dance and organ on “Relent” and “Degree Absolute” break the mood a bit and make the release a bit more of a Whitman’s Sampler than a pure collection of Godiva Dark Chocolates, but there’s abundant flavors either way.
Thirteenth Note Records