My connection to jazz began in high school when I first heard Wynton Marsalis. His trumpet didn’t sound like anything I had ever heard. It opened space for emotions I didn’t yet have words for. Everyone around me was into hip-hop, and so was I, but jazz moved me differently.

Because of Marsalis, I fell in love with jazz legends such as Miles Davis, John Coltrane, Duke Ellington, Charlie Parker, and others.

What drew me to Marsalis’ music was how he merged traditional jazz with a modern sensibility. Born in New Orleans in 1961 and raised in a family of musicians, he received his first trumpet from Al Hirt at age six and grew up playing in the Fairview Baptist Church Band. By twelve, he was performing across the city. At seventeen, he entered Juilliard. Soon after, he was on the bandstand with Art Blakey, learning lessons that shaped the rest of his life. Since then, he has performed thousands of concerts worldwide, recorded more than a hundred albums, earned nine GRAMMY Awards, and became the first jazz composer to win the Pulitzer Prize for Music.

In college, I met my friend Billy, a fellow Marsalis devotee. We made regular trips to Blues Alley, the legendary jazz club in Washington, D.C. That’s where I first saw Marsalis live. I sat only a few feet from him as he brought the songs from his albums to life. I even met him backstage, although this was before camera phones, so there’s no photo evidence of that proud moment.

Later, when he became Managing and Artistic Director of Jazz at Lincoln Center, I traveled to New York to see him perform at the famed venue.

So when I learned he was bringing the Jazz at Lincoln Center Orchestra to the Hobby Center for the Performing Arts in Houston, I knew I had to be there.

The Jazz Houston Youth Orchestra opened the show at the Hobby Center. Their musicianship and discipline stood out immediately. Jazz Houston, founded by Belinda Munro-Gardner and Vincent Gardner, has built a strong ecosystem for young musicians. Under the leadership of David Caceres and James Williams, the students receive high-level training and real performance opportunities. Watching them made me confident that the next generation of jazz artists is well prepared.

When Marsalis took the stage, he brought his signature blend of brilliance and warmth. His easy banter made the hall feel intimate.

The orchestra moved through original works and Duke Ellington standards. One standout was a piece by bassist Carlos Henriquez. After spending time in Cuba, the orchestra absorbed elements of Cuban rhythm and phrasing, and the composition reflected that influence beautifully. It transported me back to a small jazz club in Havana I once visited.

This season, the orchestra is exploring African musical traditions. Their travels to Nigeria, Ghana, and South Africa shaped several of the works. The South African pieces were the highlight of the night for me. My wife lived there for 20 years, and I’ve always wanted to visit. The rhythms, harmonies, and spiritual undertones created a sense of connection to the continent that felt powerful and familiar.

Another memorable moment came when trombonist Vincent Gardner performed a jazz version of “Happy Birthday” for his wife. It was warm, playful, and full of soul. The orchestra backed him in a way that transformed a simple melody into a small celebration.

By the end of the night, I felt as if I had taken a musical journey across cultures, histories, and traditions. Wynton Marsalis and the Jazz at Lincoln Center Orchestra delivered a brilliant concert that reminded us that jazz continues to evolve while staying firmly rooted in culture and tradition.

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