The ambient soundscapes and eclectic tresses of Forget-Me-Not from pianist Yelena Eckemoff showcases music that stimulates the mind through complex entanglements and ethereally textured chimes reverberating in a broad range of keys and decibels. The improvised parts are proportioned to the structured motifs so the tracks keep their autonomy while maintaining a melodic fluidity. Accompanied by Mats Eilertsen on double bass and Marilyn Mazur on drums and percussions, Forget Me Not stays true to Eckemoff’s character of being a member of the vanguard and keeping her audience guessing about what creations she has in store for them. The bowing arcs of Eilertsen’s bass on “Maybe” produce angular lines which trail into Eckemoff’s lounging keys then morph into a series of staccato strikes in “Sand-Glass” generating an anxiety in the track as a choir of scintillating chimes dance around the keys. The variations in the drum beats along “Five” transitions from deep-toned bass notes to seraphic projectiles as Eckemoff’s keys hewn the main theme of the track. The slow rise in the bass notes and the delicate sprigs of jittering keys garner “Schubert’s Code” with an ambient sonorous introspective in character, while “Quasi Sonata” resonates with a maudlin Beethoven-esque musing. The clip-clopping beats of “Seven” move independent of the springy cadence of the keys and the bass notes quieting to an eclectic swishing through the passages of “Trapped in Time” and then into gently balladry sweeps across “Welcome a New Day.” A maestro in her own right, Yelena Eckemoff studied at the Piano School of the Moscow State Conservatory and earned a master’s degree in piano performance. Since 1991, she has been living in the United States and developing a repertoire as an independent artist. Forget Me Not was recorded in two days at a recording studio in Denmark, and even though the recording shows no signs of being rushed but rather pristinely charted, the compositions never lose their trait of moving in unpredictable lobes and strides.