This is a spontaneous, moderately upbeat and lively 12-bar blues improvisation in the key of B flat — recorded in one take. It opens with a strong Bb9 chord voiced in both hands, which then turns into a sweeping four-octave arpeggiated flourish. Then there is a brief melodic phrase in the B flat Mixolydian/blues scale. After two bars of gospel-inspired left-hand groove, the piece settles into a classic 12-bar blues cycle.

In this improvisation there are little nods here to some of my favourite pianists: Sammy Price (in the flourishes), Dr. John (in a couple of “famous licks”), and the general feel of Chicago’s urban blues piano, balanced with touches of New Orleans warmth. It also features harmonic sixth motifs, tremolos, and Mixolydian triads — all anchored by a steady swing feel in the left hand. The groove has the tightness of Chicago blues (though not the speed of the more upbeat boogie woogie styles), while the flourishes and melodic shapes are inspired by the warmth and flair of New Orleans piano tradition.

It closes by returning to the opening idea: the Bb9 chord, now in tremolo, leading into the same sweeping arpeggiation as a final gesture — giving a kind of circular feel to the whole thing.

The title has a personal meaning for me — it’s about exploring the balance between what’s familiar and what’s hidden, in music and in life. I like that the music doesn’t obviously explain the title; it leaves room for the listener’s own interpretation.