If you’ve been around the live Philly music scene for more than a minute then you know Hiruy.

He’s the tall guy rocking the thick rim glasses, a cool goatee/beard, and a hat with saxophone or tuba in tow. He’s equally capable of leading an exceptional band and running the show, or playing his role as part of a talented house band. He’s graced the city’s stages in every capacity — whether it’s a weeknight at Time or ripping it up with The Roots at The Mann Center for their PICNIC.

Not only is he a talented musician, but he’s brought the artistic community together at his Studio Wednesday shows at Silk City and at other live jams. A welcoming individual, the first time we met I drunkenly debated him on whether the sax or the tuba was the best option for The Boom Box show we just put on. He went tuba I went sax and I don’t remember what either of our arguments were. Journalism, babaaaaayyyy.

Still, I think it’s safe to say for 99% of the music community when I say that he’s a great musician and person that we’re all fortunate to have in Philly, and it’s no wonder that his album received both critical and community acclaim. It was my pleasure to 10,000 Hours my full attention during a day trip to the beach in mid June.

The album is an homage to the craft, the journey, and further, a statement — that he’s put in the time, that he’ll continue to do so, and that he’s arrived as an artist that can accompany, compose, and play with the best.

Throughout the album, especially in the intro, famous Philly statements on dedication and perseverance echo — Will Smith on work ethic, Jason Kelce on hungry dogs, and Allen Iverson on practice (which people need to understand is more of a statement on showing up and giving everything he has to give to win the game, which actually matters).

After those pump up speeches, the jazz really gets going.

Trial gets you going. It builds the energy of the album and toys with it. It gets sloppy as jazz can, almost testing the listener, “you down?”

Incentive settles the audience and lets us in on the groove so that they can get comfortably in the music, whether you’re a jazz connoisseur or not. The sax runs are still there but the drums are steady. The piano comes in joyfully and that continues into the next tune.

NFF is a party on a runaway train. The drums really go off, as does the sax and piano as previously mentioned

Live Your Life and Take Control — spoken word into a simple and enchanting chorus, back to spoken word, and a big chorus at the end. A perfect song for a jazz album with limited vocals. Terrific change of pace.

Little Ghetto Boy — is more simple and somber. I see an 80s movie about the streets playing with this song in the background. Especially Hiruy’s sax solo in the middle/second half.

10,000 hours — like the process itself, takes its time. The intro and early full instrumentation sections show glimpses of strong groove but weave in unparalleled elements that keep the listener guessing. The 11 and a half minute song soon after finds its comfort zone, as a tiny musician would after time, and then takes the audience on a ride that gravitates from instrument to instrument.

Mom & Dad — BARS! There’s bars on this one. Another well placed track. But before that Hiruy chats with his parents about the their life travels over a light, pulsing piano. 

It’s a short, beautiful conversation about origin, adventure, and life. At this point I felt like I was taking away from the overall experience by writing notes so I let the rest of the album play out without my notepad. And it continued as it begun, rhythmic, experimental, perfectly messy, but always coming back with a groove to grab hold of.

Second Nature may be my favorite track. I love that snappy snare and the way the rest of the instrumentation dances on top of it. I had to break my zen and look up that track title.