Tom Canning | Buried Secrets

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Rock: Progressive Rock Jazz: Jazz-Rock Moods: Type: Improvisational
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Buried Secrets

by Tom Canning

Progressive rock/jazz fusion, from veteran keyboardist/writer/producer Tom Canning. All-star band includes Reggie Hamilton & Greg Rzab, bass; Curt Bisquera, drums; Arno Lucas, percussion; and Leslie Smith, vocals.
Genre: Rock: Progressive Rock
Release Date: 

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  Song Share Time Download
1. Masqualero
4:39 $0.99
2. Stage Right
3:26 $0.99
3. Black and Blues
6:38 $0.99
4. Time Machine
6:47 $0.99
5. When We Were Young
4:04 $0.99
6. Buried Secrets
6:00 $0.99
7. I'll See You In My Dreams
5:14 $0.99
8. Interesting Friends
4:42 $0.99
9. Nuthin' Left of You
4:53 $0.99
Downloads are available as MP3-320 files.


Album Notes
Tom Canning writes:
Here are some "liner notes" that I've written for the album. My deepest thanks to all the incredible musicians who participated in this recording--it wouldn't be anything without their fantastic contributions.


1. MASQUALERO -- A Wayne Shorter composition. Originally recorded in 1967 on Miles Davis’ "Sorcerer" album. As some may know, I was honored and privileged to play with Wayne, along with Gary Willis and Tom Brechtlein, on a world tour, 1985-86. I could write a lot about just that, but for now, suffice it to say that, in my opinion, Wayne is and remains the most important jazz composer of the past fifty years.
That being said, I don’t know whether he will care for this setting of “Masqualero”. The obvious groove reference is Led Zeppelin’s “When The Levee Breaks” (and even includes a segment of the original Zeppelin arrangement). Using the Axis remote keyboard and wah-wah, I have attempted a bluesy, almost Middle-Eastern approach to the melody and solo;

2. STAGE RIGHT – A recent composition, with some Cecil Taylor-isms showing up here in the Rhodes melody/solo. Cecil, now 87 years old, is a ferocious iconoclast whose piano playing and music, of course, is not for everyone. But I think he is a tremendous creative being, and a true force of nature.
Dig Reggie and Kirkee-B on the “JB” bridge—sick groove! And a huge shout-out to my bros Greg Rzab and Jay Davenport, who lit a fire of inspiration under this one (and a couple others as well);

3. BLACK AND BLUES – Written with Al Jarreau and Jay Graydon, and originally recorded in 1983 on the "Jarreau" album. Basically, it’s a blues shuffle with some hipster changes in the bridge. I slowed it down, added a new section (the intro and outro). The Axis solo gets kind of wild--knowing what i now ( 2016) know, I would have taken a more deliberates approach. However, i still dig that way-down-in-it fuzzed-out "Hound Dog Taylor" vibe that also shows up.....
Theodore Roosevelt “Hound Dog” Taylor (1915-1975) was a primitive genius whose raw, ragged overdriven rhythm and slide guitar work went largely unnoticed outside the blues community during his lifetime. His influence can be heard today in such groups as The White Stripes,The Black Keys and many others;

4. TIME MACHINE – This is a definitive “Buried Secret”. I wrote and performed it over twenty years ago (as Mr. Philippe Rault will confirm), and revisited it when this album began to take shape. I expanded on the original idea, adding the double-time jam at the end (with the very obvious “Third Stone From The Sun” influence).
The brief sound design at the end of the song is influenced by the work of 20th Century composers Gyorgi Ligeti and Iannis Xenakis. Some of their most defining compositions were written fifty years ago; and yet, to me, that music sounds as radical as ever, and light-years ahead of a lot of what is now passing for “serious” composition;

5. WHEN WE WERE YOUNG – A new one. This is inspired by both the Jeff Beck/Tony Hymas performance of “Where Were You” (from the "Guitar Shop" album) and Weather Report's version of Wayne's "Face On The Barroom Floor" (from the WR album "Sportin' Life"). When I played with Wayne, we performed "Barroom Floor" many times, starting it out as a duo, then gradually adding bass and drums and building to an intense climax. The original WR version is very stripped down, basically just a duet with Wayne and Joe playing the melody (and what a melody!).
Jeff, of course, is in a class by himself, a constantly innovating, consummate and uncompromising musician who has influenced countless guitar players. I don’t know how many keyboard players would cite him as an influence, but for me he has always been a big one.
This composition strikes me as romantic, somewhat innocent, and determined to prevail-- qualities which we have in abundance when young, but sometimes don’t understand and/or fully appreciate until later.
Arno Lucas’ percussion work adds so much atmosphere to the overall composition without calling attention to itself—brilliant. Check him on the headphones……
It’s beyond my abilities, but this one could have lyrics, if the right lyricist were ever inspired;

6. BURIED SECRETS – On a vinyl album, this would be the beginning of Side Two, partially because "WWWY" is such a Side One closer, but more-so due to the change of tone and style. It’s a tight, sit-down, Rhodes-driven power trio, with all my major influences (McCoy, Chick, Herbie and brother Les McCann) showing up. Curt and Reggie turned this into a wilder, more aggressive workout than originally intended—with fantastic results!
Original idea was written a few years ago (hence the album title) when I was playing in an acoustic jazz trio with Armando Compean and Peter Donald. I reworked and expanded it for this album;

7. I’LL SEE YOU IN MY DREAMS – An Alan Pasqua/Mark Spiro composition. Originally recorded in 1989 by Alan’s band Giant on the "Last Of The Runaways" album, this has such a gorgeous melody, and to me is one of the all-time great power/rock ballads. I tried not to stray too far from the melody, reigning in some of my more overheated Axis tendencies. Even so……
Alan Pasqua is one the most devastating keyboard players I know. The last time I heard him live with Alan Holdsworth, I seriously considered giving up once and for all. I try not to listen to him too often, for obvious reasons;

8. INTERESTING FRIENDS – Recent composition. For me, the happiest song on the album. It’s a reference to the upside of Facebook, etc, the optimism and excitement that comes with being plugged into everything, as well as, say, slamming around Manhattan and running into people all day/night long.
Another Rhodes power trio, and the most complex composition of them all. A lot of fun to play—and again, Curt and Reggie tore it up;

9. NUTHIN’ LEFT OF YOU -- Relatively new. Originally written a couple of years ago for a hip-hop project, I reconsidered it for this album due to the killer bass line. I reapproached and reharmonized everything, keeping the original lyrics, which were written by my oldest son, Jackson. Harmonic concept influenced more than a little by Miles’ 1986 "Tutu" album, while attention-to-detail is heavily indebted to Steely Dan.
It wouldn’t be what it is without Leslie Smith’s stunning vocal performance. It doesn’t get much more soulful than that, people………

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to write a review

Stan the Drummer

Tom Canning is a Class Act
Tom Canning is a class act. I've loved his keyboard playing style since I first heard him backing Al Jarreau on "Look to the Rainbow." Can't say it enough: CLASS ACT! This album reminds me of Jeff Beck's Blow By Blow, but with keyboard. He can sound a bit like Jeff, but also a bit like Max Middleton, but definitely with his own voice. Very rich harmonies! The music style is definitely progressive rock or jazz rock. Great cast of musicians. I wish rock and roll had gone more in this direction.