I’ve often wondered why the guy who owns the luggage store a few doors down from me comes to work all dressed up. Every day around noon, he walks down Orchard in a suit and newsboy cap with paper and briefcase in hand to open up shop. His wife, who runs the store with him, dresses simply and casually; it’s not really a job that requires your Sunday best.

This morning, as I was walking to the bank to deposit some cash into our bank account, I saw a man dressed in a suit standing outside a building silently passing out flyers. As I strolled by, I thought to myself that it looked a lot like the guy who owned the luggage store a few doors down. On the way back it was unmistakable – we locked glances for a second as I passed. I didn’t wave hello; perhaps I was worried that he’d be embarrassed that I noticed him there working his second job. I wondered to myself whether he had a son who’d end up spending that money on a new pair of Jordans.

It took a chance encounter during my walk through Chinatown to remind me of the immigrant struggle and how much I have to be thankful for. My parents have also made sacrifices to afford me the many opportunities that I have today, and it’s important for me to think back on them every time I feel like I’ve got it tough. Fact is, I’ve got it pretty good.

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On progression (or lack thereof):

If you’re playing something that’s supposed to sound like it’s supposed to be . . . and you’re perfecting this mandatory expression with mandates all around it, it’s nothing more than a statue. Like polishing a statue.”

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Dizzy used to tell me that I am playing too hard. He used to say to not give everything. Miles used to tell me that too.

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I’m pretty sure that I’ve listened to Art Blakey more than any other artist this past year. It started with his album Caravan – I was captivated not only by his raw, unadulterated drumming but also by the talented band members – on that particular album he played with Freddie Hubbard on trumpet and Wayne Shorter on tenor sax, both of whom moved on to very successful solo careers.

The second album that I picked up was Free For All.  I was staying up late to finish up some work, and decided to put it on in the background. The opening track captivated me to the point where I was unable to concentrate on anything else, so I just gave up and listened. There are so many nuances to this recording that I love – you can hear the bandmates cheering on Wayne Shorter on his ruthless opening solo, and Blakey’s sheer emotion coming out in groans during his drum solo at the end. Have a listen:

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After my third or fourth album, it began to occur to me that the Jazz Messengers (which Blakey co-founded with Horace Silver) had yielded an extremely impressive alumni list. Art Blakey’s ability to surround himself with some of the youngest and brightest up and comers in jazz began to intrigue me. On “A Night at the Birdland” he remarked:

I’m gonna stay with the youngsters. When these get too old I’ll get some younger ones. Keeps the mind active.

I’ve  always wondered what was it about him that allowed him to spot and cultivate talent so consistently.  The only other band leader that comes to mind is Miles Davis – but even so, the sheer amount of musicians that Blakey brought up far outshadows any other group bar none.  Some artists that I’ve discovered and have come to love through their involvement with the Jazz Messengers include Freddie Hubbard, Kenny Garrett, Lou Donaldson, Branford & Wynton Marsalis, Lee Morgan, Reggie Workman, and of course Wayne Shorter (my second favorite saxophonist of all time).

Below is a video that shows Art Blakey and the Jazz Messengers in their prime, performing live on a Japanese television show in 1961. This particular iteration of the Jazz Messengers featured Wayne Shorter on tenor sax, Lee Morgan on trumpet, Bobby Timmons on the keys and Jymie Merritt on upright bass. Enjoy.

Lily and I will be spending the next 10 days in the beautiful city of Paris visiting family, eating, and shopping. It sure would be nice to run into something like this while we’re here: