Sides, Colors

There’s widespread eclecticism but Piket’s group excels at everything it tries.

Kudos to Piket for putting together a truly creative recording that at one and the same time cradles and challenges the listener.
Victor Schermer,

Sides, Colors is both a pensive journey backward and a here-and-now delight.
Elliot Simon, New York Jazz Record

Piket demonstrated her uncommon ability to paint soundscapes for an 11-piece ensemble, with instruments rarely heard in jazz, on Sides, Colors.
Tim Wilkins, Newark Star-Ledger
One of the freshest releases of the year. At turns pretty (Laurie) and complex (check out the deconstructed gospel dedication to Sam Rivers, My Friends and Neighbors), Roberta is a force to be reckoned with and one to watch.
Mike Stratton, WLNZ, Michigan

[Roberta has a] distinctive technique of writing for a chamber setting.
Robert Doerschuk, Downbeat
“Rather than being formulaic, [Sides, Colors] is exemplary in its compositional intelligence….The listener becomes part of the exploration, wondering, anticipating, delighting.”
Michael Steinman, JazzLives

Piket takes some chances [on Sides, Colors], and it pays off nicely.
Dan McClenaghn,

Thirteenth Note Records is pleased to announce the March 2011 release of Roberta Piket’s seventh CD, Sides, Colors. This ambitious release features intriguing arrangements for strings, reeds, brass, percussion and organ on several tracks to enhance the trio sound.

While Sides, Colors is not just another piano trio album, it is the trio of Roberta, bassist Johannes Weidenmueller and drummer Billy Mintz that is at the core of the CD. Even in the context of the larger ensemble pieces, their intuitive, conversational interplay is a joy to hear. The trio is the foundation for the sonic landscape that is Sides, Colors.

Other CD highlights include “Degree Absolute”, with its piano/organ poly-rhythmic groove; a quirky, swinging trio take on Jule Styne’s “Make Someone Happy”; a haunting tone poem for four winds and piano entitled “Empty House”; “Relent”, a burning organ duo between Piket and Mintz; and “My Friends and Neighbors”, an African American spiritual deconstructed into an Ivesian experiment in contrapuntalism. (The latter piece is dedicated to Sam Rivers, with whom Roberta was privileged to associate at the Atlantic Center for the Arts in 2006.)