I think the vocal are too hot and the rest of the mix is too dark.
You seem to have captured nice bit of body and crunch in the snare, I really like the tone. But its so far back in the mix, I kind of strain a bit to feel the energy of it.
If those are real drums, I would consider bringing out the body of the kick by throwing parallel compression on a drum bus, and including any room mics you have in that bus. Also, I’m not getting enough of the beater (try boosting at 2.5-4K) if you have a mic inside the kick. This may change though if you push the drums further forward.
The vocal is too dry in my opinion. But I wouldn’t lengthen verb tails, I’d probably just thicken the blend of a natural room verb, ramp up early reflections, and add imaging effects to it to widen it.
That solo guitar sounds like its being played through a pig nose, an old gibson amp, maybe a silver tone or maestro. It has a really nice sound. I wouldn’t pan it that far right though.
The compression on the piano is way off to the point it distracting. The attack and release settings are digging to where it doesn’t breathe, and the attack/release aren’t timed to the source. This might be a good time to try and use a compressor plugin like a Fairchild or a Vari-Mu (basically anything where the peak reduction circuit is constantly re-biased by a simulated voltage control mechanism that feeds off the source). Or an API 2500 that does the same thing a different way. If you don’t have anything like that, maybe try a multi-band compressor and manage that nice mean honky mid-rangy grit separately from the bright percussive top.
I’m picky about piano, but I’ve mixed over 300 piano dominated recordings over the last seven years. The tradeoff on the those side chain feeding compressors is transparency for glue. Especially for a piano solo like that, you need to think of that solo more like a marimba or xylophone solo and less like a guitar solo. Approach the piano as a chromatic percussing instrument.
Just some ideas.