Plenty of New York jazz-scene club-goers know Kris Davis' name. No less a peer than Jason Moran has compared her pianism to that of Cecil Taylor. Which isn't to say she sounds like Taylor (who could?), but that Davis' sense of her instrument's possibilities approaches that standard. "Ten Exorcists" shows Davis at her most daring: At several points, minimalist prepared-piano riffs are engaged for long stretches; every time a spiraling new figure or syncopated blast is introduced, the piece erupts into an idiosyncratic swing. And Monk specialists should check out her take on "Evidence."