Roberta Piket has taken a turn in her career as an adventurous pianist, one whose sensibilities tend toward the odd and unexpected, by switching to the Wurlitzer electric piano. The differences in timbres and the smoothing of percussiveness necessitated a different instrumentation for her group. So, Piket added for the first time a guitarist--Bruce Arnold--not to mention a player of electric (rather than acoustic) bass, Cliff Schmitt. The result is a CD of quicksilver energy and infinitely varying sonic effects that communicate her thoughts with synaptic flashes, like the initial ethereal effects on "Mixed Signals," which set a scene for Arnold to describe before the prodding main theme that follows. "Fatherless Figure" is slightly more conventional in its development of a quasi-ballad, complete with a fixed chord structure with tension and resolution, that nonetheless creates a sense of introspection and wonder.
The titles of the tunes on I’m Back In Therapy And It’s All Your Fault,
when considered as a whole, provide an idea of Piket’s humor and attitude, which are given musical expression: "Bad Mistake," "Speak, Memory" or "Mixed Signals," for instance. With spurious modesty, Piket takes "Just A Blues" beyond the realm of just a blues. With flutters and off-the-beat assertions, she makes her 6/8 blues yet another extension of her personality, which takes her down some less traveled roads for detailed and wacky excursions.
"Conclusive Evidence" (the title of which makes one wonder about the nature of the inquiry leading to the conclusive evidence) unfolds from Piket’s initial pattern to reveal a percolating tune featuring Arnold’s eventual work that elucidates the implications of the vamp. On the other hand, Schmitt sets up the tone for "I’m Back In Therapy And It’s All Your Fault," locking in with Driscoll to make clear the fact that they provide the push and pull that feed Piket and Arnold with a creative undercurrent of musical possibilities.
With I’m Back In Therapy And It’s All Your Fault,
Roberta Piket has established herself as an ever surprising but timbrally consistent keyboard artist who pushes the limits drawn by her compositions. In the end, she delivers music, snapping and provocative, of integrity arising from the complexities of her own experiences.