I did not see this when you posted it. I find it amazing that you are still receiving posts after all these months! That, in itself, is an accomplishment.
I listened to some of your earlier music, then listened to your later music and changed my mind on some of the things I was going to say. Generally, I think I like what you are doing. I like your rhythm and rubato. You are obviously using piano software (which sounds fantastic, by the way - Is it the Garritan Steinway? I ask because it is what I use.) which means you are recording in MIDI, but you are recording straight out and not getting sucked in to the strict tempo trap that so many do. I like your harmony and willingness to experiment. Your music has a "look what I found" character to it which I find attractive.
Though I found some structural devices holding together your earlier music, along with some clever - if sporadic - use of motivic material, this latest Reflections album seems even more spontaneous. The music seems to be held together by an underlying tonality, and the motion seems to be for you to make chromatic (or non-diatonic) excursions away from the tonality and then make your way back. Sometimes you "stay away" for quite a while, but I agree with Musical-md in that you never seem to arrive anywhere new. This does not bother me so much, though the entire album seems to be in the same or closely related tonality. Another thing that begins to wear on me is how each of your phrases ends in piano reverberation. It tends to stop the motion of what you just did. Some shorter pauses between phrases, or even elision of the beginning of your new phrase to the end of your old phrase would help to move your music along a little bit and allow you to group your music into longer sections.
The characteristics I have mentioned cause me to ask if this music was originally improvised. This is not a criticism, but just an inquiry. I, myself, use improvisation as the origin of my written music (see my post under Composition), as well as improvising for its own sake. I ask because several of the devices you are using are those which might be used by a good improviser. Also, some of the chromatic notes seem to get left hanging without resolution, which happens. If not, you have done a good job of simulating or assimilating an improvised style.
I also would like to pass along a structural technique I picked up from Debussy, since you name him as an influence. At the time I discovered this, my music was quite modal, and I found myself working with pentatonics and hexatonics rather than the regular tonal major/minor system. So I arranged the notes (not keys) in a line in fifths - flats in one direction and sharps in the other - like this.
. . . A# D# G# C# F# B E A D G C F Bb Eb Ab Db Gb . . .
Major scales are grouped together - so are pentatonics and hexatonics - and they are arranged in a coherent tonal system. But I liked it because it did not imply a tonal CENTER but just a tonal COLOR. I played around with moving from one grouping to another, adding notes to the left then right, jumping, etc. Then I took a look at some of the modal music of Debussy and graphed it using the above arrangement of notes as a Y-axis against time as the X-axis. What he seemed to do was to plan his modal pieces so that they moved first in one direction then back and to the other direction and back, creating sort of a sine wave. This was a revelation because tonal function doesn't work very well in a modal setting. Most romantic composers (Brahms and Dvorak for example) just use tonal harmony to go with their modal melodies. But Debussy moved the COLOR of his music back and forth, without using functional harmony. I thought I would pass this along, because you seem much more 'color" oriented than "function" oriented, and your music does seem to get stuck sometimes in one area. Of course, all your interesting chromatic excursions would still be great, but this way you could have your background color move to different tonal areas. It also might help you to expand your concept of a "tonal area" as it did for me.
I don't see any problem with what you are going to do with this. Just keep writing and publicizing and something might happen. Hitting the jackpot is not always the most fortunate thing anyway, as people will no longer want you to grow and change. Composition can be a lifelong pursuit so growth and change are a must, for your sanity if nothing else. I did a show with James Taylor once who said that when he heard Carole King sing "You've got a friend", he complemented her on the song. She said to him, "you like it, why don't you take it?" He then said that if he had known then that he would be singing the song every day for the next forty years, he might not have taken her up on it!
Best of luck with your work. It is quite promising. Happy holidays.