Pianist Wilson’s adopted moniker Anahita is the name of a Persian water goddess, associated with flowing creativity. On the strength of this debut album of solo pieces, it seems like an apt fit. Wilson’s style occupies a curious niche at the intersection of jazz, contemporary classical and Indian raga – with perhaps the later work of Terry Riley offering the closest precedent. Certainly, the Indian influences are easy to discern in Wilson’s own compositions, which make up the bulk of the album. On ‘Neeleshwar’, for instance, left-hand rumblings approximate a tamboura drone, while her right hand generates oceanic ripples with microtonal hints – not dissimilar to some of the pieces on Riley’s monumental The Harp of New Albion. A handful of compositions by other artists provide a clear survey of Wilson’s wider musical interests. Chick Corea’s ‘Where Have I Known You Before’ receives a wistful treatment, Handel’s ‘Adagio Suite in F Major HWV 427’ proffers delicate trills at a stately pace, plus there are pieces by a pair of lesser-known 20th century figures: ‘Beguiled,’ a specially-commissioned work by American composer Stephen Montague, moves from prancing energy to scattered phrases with bluesy asides; while ‘Tariqa I’ by maverick pianist, the late Peter Feuchtwanger (a former teacher of Wilson’s), imitates the mellifluous drizzle of the Persian santoor. It’s a fitting offering to Anahita herself.