JUMP: Spring 2012

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SPRING 2012

TA K

ISSUE #5

WE GO IN THE KITCHEN WITH

CHIDDY BANG

INSIDE: PURLING HISS, GOGO MORROW, LUSHLIFE, THE SCHOOL OF ROCK, GOOD OLD WAR, CHEERS ELEPHANT & MUCH, MUCH MORE

CONTENTS | Issue #5 Spring 2012

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THE JUMP OFF Chocolate Milk, Lushlife, ticket-window Andy at the TLA, Sara Sherr, Swift Technique, Khari Mateen, Curt Chambers, Purling Hiss, Ground Up, Very Happy, The Young Werewolves, Good Old War, Pierre Robert, Nick Millevoi, Shane Henderson, Anthony Caroto.

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THIS PLACE ROCKS The Boom Room offers studio time and so much more.

Strange Brew Coffee is a neighborhood joint.

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SPECIAL SECTION: THE MUSICSTAR See what's happening with our new partners at the School of Rock.

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MUSIC & POLITICS Judge George Overton toured with Blue Magic and The Stylistics.

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MUSIC & EDUCATION American DanceWheels bridges the gap between people who use wheelchairs and standing dancers.

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COVER STORY: Chiddy Bang Colin Kerrigan goes in the kitchen with the hip hop duo, whose first full album, Breakfast, just dropped.

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COVER STORY: Cheers elephant Kevin Brosky hangs with the Fishtown-based quartet that can make a party happen.

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JUMP PRESENTS Gogo Morrow backed up Lady Gaga. Now, she's doing her own thing. Cary Carr meets the people who visualize local music: Dan Centrone, Mr. Green, Gianni Lee and the teams at On Canvas and BITBY. Modern Bropar brings you the Occupy Philly benefit album.

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FOOD THAT ROCKS The mind-blowing desserts at Sazon are perfect before seeing a Union Transfer concert. And we show you other dining options near the club.

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the JUMP concert calendar Check out who is playing in the city.

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LINER NOTES Alexis Simmons writes about being mentored by Philly great Jaguar Wright.

COVER PHOTO: Chiddy Bang, by Colin Kerrigan.

BACK COVER: Cheers Elephant at One Shot Coffee, by Colin Kerrigan.

CONTENTS PAGE: (top to bottom) Very Happy, by G.W. Miller III. Khari Mateen at Milkboy Recording, by G.W. Miller III. Cheers Elephant, by Colin Kerrigan. Gogo Morrow, by Marie Alyse Rodriguez.

JUMPphilly.com

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publisher G.W. MILLER III senior staff SOFIYA BALLIN, KELSEY DOENGES, LAUREN GORDON, COLIN KERRIGAN, CHRIS MALO, MEGAN MATUZAK, BRANDEE NICHOLS, KEVIN STAIRIKER staff LAUREN ARUTE, ANTONIO BOONE, BRITTNEY BOWERS, KEVIN BROSKY, CARY CARR, MADDY COURT, CHESNEY DAVIS, GRACE DICKINSON, YOTAM DROR, MATTHEW EMMERICH, JESSICA GRIFFIN, ASHLEY HALL, SARAH HULL, AARON JOLLAY, RICK KAUFFMAN, ROSELLA LaFEVRE, DANA LUCCHINE, KIM MAIALETTI, BRENDAN MENAPACE, JILLIAN MALLON, NIESHA MILLER, CAROLINE NEWTON, ELIZABETH PRICE, MAXWELL REIL, MARIE ALYSE RODRIGUEZ, CHAD SIMS contributors A.D. AMOROSI, MICHAEL BEON, ANTHONY CAROTO, BIANCA CRESPO, BETH ANN DOWNEY, MORGAN JAMES, MERCEDES JONES, REBECCA ROE, ALEXIS SIMMONS, OLIVIA VAUGHEN, BRIAN WILENSKY assistant to the publisher KIARA McKNIGHT these folks believe in JUMP and we love them for it KYLE BAGENSTOSE, RUSS CAMPBELL, MEREDITH EDLOW, LAURA HUGGETT, MIKE MORPURGO, MARY BETH RAY, LIZ SCHILLER, special thanks to WALTER KEALEY (for recovering our hard drive two days before the mag went to press) WE PRINT 10,000 FULL-COLOR ISSUES FOUR TIMES PER YEAR, IN MARCH, JUNE, SEPTEMBER AND NOVEMBER. WE DISTRIBUTE THEM FREE AT PHILLY AREA MUSIC VENUES, STUDIOS, RESTAURANTS, RECORD SHOPS, BARS, CLOTHING BOUTIQUES, GYMS, BOOK STORES, COFFEE SHOPS, UNIVERSITIES, CLUBS AND OTHER PLACES WHERE MUSIC LOVERS HANG OUT. IF YOU WANT MAGS AT YOUR LOCATION, EMAIL US AT JUMPPHILLY@GMAIL.COM. JUMP is an independent magazine published by Mookieland Inc. We were voted "City Publication of the Year" by readers of Philebrity in 2011. How about that, eh?

If we goofed something up, let us know. It was a mistake. Honestly.

Please, please, please don't sue us. You don't want to see us cry.

This is a full-on community effort. If you want to get involved, if you have story ideas or if you just have something to say, contact us at jumpphilly@gmail.com.

We really need advertisers. Advertising money allows us to print this magazine and tell stories about the awesome people doing awesome stuff in Philly. By supporting JUMP, you are supporting the local music scene.

Philly rocks. Spread the word.

JUMPphilly.com

Publisher's Note

It's happening in Philly. For real.

The reality is that you can live just about anywhere today.

We live in a mobile age, when we connect with friends via Facebook more than we do over beers. You can buy stuff from around the world instantly, and have it sent your house - overnight if needed. You can telecommute, and never have to set foot in a cubicle hell.

Globalization and technology have changed everything, including the music industry. It's frightening and exciting, all at once. The traditional ways we've done stuff are no longer the tried and true paths to success.

For instance, if you want to make it in the music business, you don't have to go to New York anymore. To be the next great indie band, you don't have to live in Brooklyn. Or Portland. Or wherever.

You can live here. And you should.

There is amazing stuff brewing in Philadelphia. There are new venues, labels, studios and organizations popping up all over the place.

New bands are formed constantly. There is energy.

And yet, it still feels like the beginning of something absolutely incredible. It's not quite there. We’re still on the cusp.

"It's tough to feel the buzz when you're sitting in it," says Milkboy Recording’s Tommy Joyner. "What's going on in Philly is really exciting."

He lists off a few bands doing Philly right: Dr. Dog, Nicos Gun, Moosh & Twist. These folks play shows across the country, jamming venues, all the while repping Philly. And then they come home to Philly.

As we talk, Marsha Ambrosius is recording in the studio adjacent to where we sit. Every time the studio door opens, the most wonderful sounds waft out. Ambrosius hails from the United Kingdom. But she lives here now.

"Outside of our world, people look at Philly as a big deal," Joyner continues.

Tommy Joyner moved to New York from his hometown of Columbia, South Carolina for music. He played in a band there for a few years and he ran a small studio in Brooklyn. Then, a friend suggested he move to Philadelphia. So he did. In 1994, Joyner launched Milkboy Recording, operating out of the old Zapf's Music shop in Olney.

He eventually needed more space and moved his operation to Ardmore. Then, he and business partner Jamie Lokoff opened a coffee shop/ music venue. Last fall, they opened a Philly outlet for their growing empire - a bar/ coffee shop/ music venue at 11th and Chestnut.

And in January, the Milkboy crew took over Larry's Gold's legendary recording studio on N. 7th Street.

We have world-class facilities here, including Milkboy’s new studio, which has been drawing talent for a long time now (see our story about Khari Mateen on page 12). We have wonderful incubators, like our friends at the School of Rock - who helped educate members of our back page cover band, Cheers Elephant (read about them on page 36).

We have young, creative minds who experiment and push boundaries.

You don’t need to go anywhere else. It’s happening in Philly.

- G.W. Miller III JUMPphilly.com

FOCUS on Science Interested in a behind-the-scenes look at cutting edge biomedical research? Subscribe to the FOCUS podcast series by the Burroughs Wellcome Fund for interviews with innovative scientists whose research opens the doors for new therapies and potential cures in human health. Visit bwfund.org/podcasts or search for “Wellcome� in iTunes.

The Burroughs Wellcome Fund is a private foundation located in Research Triangle Park, North Carolina. Find out more at bwfund.org

Photo by G.W. Miller III.

Chocolate Milk To Go Kevin Stairiker talks to the genre-melding crew who are making a name for themselves.

GOT MILK?: (L to R) Justin Davis, David Patrick, Curtis Arnett and Andrew Aulenbach getting into the spirit on Temple's North Philly campus. Bass player Luke Reitz is studying in Ecuador.

David Patrick, Andrew Aulenbach, Curtis Arnett and Justin Davis sit on different couches, fidgeting. This is their first interview as Chocolate Milk, a privilege earned via a combination of their own hard work and by winning a recent Grammy U Live! event at the Legendary Dobbs.

They met at freshman orientation at Temple University three years ago. Vocalist Patrick and keyboard player Aulenbach performed a ukulele and rap hybrid that impressed sax player Arnett and bass guitarist Luke Reitz, who is currently studying in Ecuador. They jammed together a couple times with drummer Davis, who Aulenbach and Patrick knew from high school, and Chocolate Milk was born.

Since then, the band has made an indelible mark on the area, playing wild live shows everywhere from house parties to the Liacouras Center, where they opened for both Wale and JUMP cover stars Chiddy Bang.

“No matter where we’re playing, we always try to be on point with our live show,” says Patrick.

“Thankfully,” adds Aulenbach, “we play often enough that sometimes we can go a while without practicing.”

Patrick describes their sound as something

like Mark Ronson or N.E.R.D. but he shies away from stating too many influences.

“Once you start dropping a bunch of names, people get distracted and try to tie you to them,” continues Patrick. “I think I can be honest and say that there really isn’t another group out there doing what we’re doing right now.”

Chocolate Milk’s hazy, heavily jazz-influenced brand of hip hop is certainly not en vogue right now but it’s the kind of music you hear and forgot you needed. Musically, the group writes and performs the kind of sonic jams that Q-Tip had to construct with old records back in the day. But don’t even get the idea in your head that they won’t sonically force you to move at their shows.

“When we’re doing a show, especially a house show, I think I subconsciously want to be the center of attention” says Patrick. “Performing is absolutely a high. Even when we’re on a bill with people like our friends Stinky Smelly, we’re inspired by them. We’re also driven to be better, as well.”

Find Chocolate Milk's new album on JUMPphilly.com

Despite being a hip hop-centric band, the collective influences of the group come from decidedly un-hip hop places.

“I’ve been playing drums at my church since I was 12-years old,” Davis offers. “I didn’t even really get into rap music until I got to college.”

“I picked up the sax 11 or 12 years ago when my mom made me pick out an instrument in elementary school,” says Arnett. “Once you listen to Coltrane for the first time, everything else sort of pales in comparison.”

They’ve released music on the Internet for as long as they’ve been together but Chocolate Milk is now putting the finishing touches on their first proper album, So Far To Go. It should drop any day now.

“The whole thing has been a really, really long process,” says Aulenbach, who also handles production and engineering. “I love experimenting with sounds. I’ll take records from the basement of Repo Records just to find the little sounds I want. I have recordings of Justin’s drums from years ago that I’ll just throw into a song.”

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Ashley Hall learns about the inspirations behind Raj Haldar's eclectic music. went live. That’s so awesome.”

In January, the 30-year old, Philly-based artist signed with Western Vinyl and announced he would release a full album, Plateau Vision, on April 17th.

Despite previously putting out two fulllengths, including the acclaimed Cassette City, Haldar feels this is the first time he’s truly creating his own sound.

“I’m not just exploring how other sonics work,” he says, “but doing stuff I don’t think has been done a lot on the production side of rap music.”

Although his sound changes on every track, everything he does has immediate roots in classic 90’s hip hop.

Inspiration for his sound comes from artists

Photo by Megan Matuzak.

After releasing his latest mixtape, No More Golden Days, in October, Raj Haldar, known as Lushlife, got attention from numerous magazines and blogs, including Stereogum, which called it “the mixtape of the week.”

He never expected the coverage he received from the New York Times.

They referred to his work as “attitude-thick rapping, long dense strings of compressed rhymes heavy with Philadelphia arcane.”

“My mom was most excited about that,” Haldar says.

But he recognized that there was something bigger going on.

“When I put that mixtape out,” he says, “there were thousands of people downloading it from the moment it

Life Inside The TLA The guy in the ticket booth has big dreams - and his family by his side, as Megan Matuzak discovers.

The Theater of Living Arts has been Andy Riehs’ stomping ground since he was 11, when he would sneak into shows to see bands like Simple Plan and Good Charlotte.

A Northeast Philly native, Riehs would hop onto buses and the El just to stand in the warm glow of the TLA’s stage lights.

He was around the venue so often that the bouncers and manager of the venue took notice. They eventually offered him a job in security.

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“I’ve had people throw up on me, pee on me, curse at me,” Riehs says with a chuckle. “When I did security out front, I had a guy try to sneak in 20 cans of beer in his cowboy boots. That was insane.”

Now 24, he stations himself in the box office at the TLA, which is always bustling. The phone rings off the hook with ticket sales and furious patrons who won’t take “sold out” for an answer.

He also manages the stagehands, working alongside his father, Andrew Sr., and sister Rachel.

The Riehs family is the first thing you see when you arrive at the TLA. Andy Riehs and his sister man the ticket booth, handling will call and questions. Their father scans tickets and pats down the eager concert goers. If anyone gives Andrew Sr. beef, you can best be sure that his son has his back.

Riehs’ father also runs Riehs Florist in Northern Liberties, a familyowned shop that opened in 1885. It is no surprise that life in the flower shop and at the TLA overlap frequently. Ok Go once requested their instruments and mic stands be covered in flowers, which were supplied by the family business. Hip hop artists like Young Jeezy call on Riehs’ family for single roses they hand out to the lucky ladies in the crowd begging to be serenaded.

When he’s not at the TLA, Andy Riehs often positions himself in front of his police scanner.

“I really love music and the TLA but originally, I wanted to be a cop,” Riehs notes. “I used to listen to the police scanner with my grandmom.

She got me hooked.”

He’s always had an interest in law enforcement as his uncle is a SWAT team member. But don’t be mistaken - Riehs doesn’t plan on blowing his spot at the TLA for the police academy anytime soon. He plans to climb the ranks in the music business, hopefully doing production and booking at the TLA. “I’m always here,” Riehs says with a wide grin on his face. “I love it. No one knows the TLA quite as well as I do.”

JUMPphilly.com

Photo by Ashley Hall.

Lushlife: The Media Darling

like Nas, Mob Deep, The Roots, the Beach Boys and the Philly soul artists of the Gamble & Huff era.

The genre-bending rapper and multiinstrumentalist blends influences, jumping into extremely experimental territory.

“I try to not make my influences too obvious,” he says. “I synthesize them through myself.

Whatever comes out, comes out.”

Haldar began playing piano when he was 5.

He played in jazz bands in middle school and high school.

“Even at a young age, I was so obsessed with music,” he says. “I just never even thought about doing anything else.”

He now operates a modest recording studio out of his South Philly home.

“It’s like, the perfect life for me,” he says. “I love the city. I love the music scene.”

Plateau Vision will feature members of Das Racist, Styles P and some of the numerous major artists featured on No More Golden Days.

The MC/producer says his sound and priorities have shifted as he’s moved from project to project.

“If you would’ve asked me when I was 22 what I wanted, I would’ve probably said I want to be darlingized by the press and have a super hot record,” Haldar says. “But now, I am really settling into the feeling that it’s just the music.

And I can’t ask for more than that right now.”

The JUMP Off Photo by Olivia Vaughen.

Sing Along With Sara Kelsey Doenges meets Sara Sherr, the queen of karaoke and champion for women rockers.

There isn’t even a stage - just a microphone, a monitor and the concrete floor beneath him. There are no flashing lights or colorful backdrops, just PBR paraphernalia covering every available space on the wall. This isn’t a performance venue. It’s like your friends’ parents’ basement. The crowd is literally so close, he can touch them. And his biggest fans are his friends, the kickball team who won their game earlier tonight and then came to Bob & Barbara’s for a celebratory drink and a little karaoke.

The beat blasts through the speakers and hits his ears. He immediately transforms from the kid on the kickball team to the number one Ginuwine impersonator in the room.

“If you’re horny, let's do it,” he belts out. “Ride it, my pony!”

Between lyrics, he snaps, “I don’t see enough people grinding. Come on! I just need a saddle and a horse. Just a saddle and a horse, everyone.”

Two teammates join him at the front of the room, one bent down pretending to be a horse while the other mimics a cowgirl, riding him while swinging an imaginary lasso in the air.

This young man knows “Pony” so well he doesn’t even need the lyrics on the monitor to guide him. In the corner of the room, a group of girls debate whether this is endearing or a severe flaw - as they double-fist sweating cans of PBR and whiskey, the city-wide special.

There is only one person to thank for this boy's instant stardom. And no, it’s not his voice teacher (one would be surprised if he actually had one), his parents or even God. It’s Sara Sherr, the host of Sing Your Life Karaoke, who has been generously providing a stage for the able-bodied singers and the tonedeaf dreamers for five years now.

Sitting behind a table, the light from her computer bouncing off her short blonde hair, Sherr is the only person you can see clearly in the dingy bar. She notices the nearly perfect rendition of “Pony” just enough to smirk before looking down at the pile of requests she has in her hand. Her job tonight is simple - keep everything moving so everyone has a chance to sing, and make sure there are no repeats.

Sing Your Life Karaoke is not the only place where Sherr – a DJ, promoter and journalist, among other things - provides a stage for those who may not normally find one. She is also the co-founder, along with Lisa Flynn, of Sugar Town, a monthly showcase for female rockers.

Created in 2001, it was built on the idea that JUMPphilly.com

female musicians were not celebrated enough throughout the industry.

“I always championed a lot of female artist that I liked, so it was something that I always felt strongly about,” Sherr says. “I consider myself a feminist but instead of being overtly political, I would do it in the things I was involved in, like writing and music. So Sugar Town is an extension of that too.”

Sherr also teaches the history of women in music for Girls Rock Philly, the local organization dedicated to empowering young girls through music education.

“In commercial rock radio, you don’t hear a lot of female voices,” Sherr explains. “And if you are looking at the mainstream media, you don’t see a woman holding a guitar. They are usually front women. The front women are very important, don’t get me wrong, but that is the only role they are shown in.”

Her in-depth curriculum tries to encompass all the ladies who helped to create rock and roll, as well as blues, gospel, jazz and country.

Typically, if young girls learn about the history of music, it is the great man theory.

But Sherr illustrates that in every genre of music, women were pioneers and had an important part in the way that culture has been shaped today.

“I go around the room and ask who is their favorite female artist or band,” she says. “If I get a bunch of Hannah Montanas, I incorporate the women who sang songs that other people wrote for them. ‘You can have a job writing songs and have other people sing them for you.’

I kind of turn it around that way, so that I don’t belittle their choices.”

Sherr introduces influential women who left their mark on the music industry like Sister Rosetta Tharpe, a gospel singer who played the electric guitar, Billie Holiday, the jazz singer, and June Carter Cash, who wrote “Ring of Fire.”

The list goes on and on.

By sharing this knowledge, Sherr hopes young girls will realize the enormous impact that women had while shaping the tunes they

hear today. Hopefully, that awareness will make girls feel more welcomed in a business that is typically male dominated.

She wishes there had been something along the same caliber as Girls Rock Philly when she was younger. Her father made his living as a musician, playing in cover bands. He was the type of person who could pick up and flawlessly play an instrument without any effort. Sherr, on the other hand, studied the viola, bass and electric guitar - only to find them frustrating.

“It was the 80s and you didn’t see a lot of women holding guitars and playing instruments on MTV,” she recalls. “I think if I had been exposed to more of that, I might have stuck with it even though I wasn’t good.”

And maybe that is why Sherr has invested the majority of her career championing for the voices that otherwise wouldn’t be heard, whether from handing them a microphone at karaoke to giving them an entire stage to perform on, or by making people aware of the possibilities a musical future holds.

The nontraditional voices are the ones that Sherr rallies for.

The last lyrics to "Pony" trail across the screen and there ends the four minutes and 11 seconds of fame for this kickball player.

Sherr quickly announces the next song and hands the microphone off to another eager patron, who hears the beginning notes of the classic, empowering ballad, "Jolene" by Dolly Parton.

She hikes up her long peasant skirt to reveal a beat up pair of cowboy boots and then sings the song with such conviction, you'd swear she lived these words before.

It's her time to shine.

Want a stage to call your own? Find Sara Sherr at these Sing Your Life karaoke events: Sunday: Bob & Barbara's, 1509 South Street .

Monday and Thursday: Upstairs at Tabu, 200 S. 12th St. Tuesday: 12 Steps Down, 9th and Christian 9

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JUMPphilly.com

Photo by Ashley Hall.

The JUMP Off

Band On The Run Ashley Hall meets the guys from Swift Technique, the former basement band that puts on one of the wildest live shows you'll ever see.

It’s another Friday night in Manayunk and six grown men don themselves in random costumes - everything from lab jackets with axes in the pockets, to a pair of goggles with glow-in-the-dark ice cubes in each eye.

It’s just another evening with the guys of Swift Technique.

Bassist Jake Leschinsky shoots a smirk and says, “So, how would you feel about going across the street to ask the fire company if we can take pictures with their truck?”

A few moments later, the band is climbing on a fire truck and making their “serious faces,” which last but a moment, interrupted by gut-busting laughter.

The guys got their start in 2007 playing house parties while attending Temple University. Leschinsky had seen his fair share of North Philly basement parties and noticed there was a pattern.

“People were dying for loud music, and the bands I was seeing were pretty shitty,” he chuckles. “If these guys could do it, we could do it. And probably fucking kill it.”

And that they did.

The guys all came together after Leschinsky started making beats for a rapper he had met at Temple (now a former Swift Technique vocalist).

“We developed the philosophy of the band,” he explains. “Sort of live hip hop, jazz influenced.”

The album Jazzmatazz by former Gang Starr member Guru was the blueprint for Swift Technique's sounds.

Leschinsky then got longtime friend and guitarist Andy Bree involved.

The rest of the band slowly came together - drummer Rich Agren, trumpet player Greg Rosen, trombonist Matt Fischer and tenor sax player Brian Blaker.

“We are all musicians who have studied jazz music, so the improv sensibilities of jazz are just always present in our stuff,” Leschinsky explains.

After playing a ton of low-ceiling basement parties, Swift Technique landed their first big-time gig at World Café Live.

That show was what sent the process into full swing. They built a website and began recording, while continuing to perform regularly in the region as well as across the United States.

Swift Technique is known for their ability to put on a show, which they attribute to their tight chemistry and their ridiculous amount of energy on stage. They credit legends like James Brown, The Red Hot Chili Peppers, Led Zeppelin and, of course, The Roots as influences behind their music and performances.

But the guys are adamant that it’s not just musical inspiration that makes their vibrant sound what it is.

“If you live in or around Philly, it affects you,” Leschinsky says. “The music we make is a direct result of Philly. Honestly.”

They also get a lot of ideas from touring, which they do constantly.

“This band was made on the road,” Bree explains. “It’s kind of cool because not a lot of groups that I know just hit it every goddamn weekend.”

With all this traveling, of course, this crazy, talented, comedic crew JUMPphilly.com

STRIKE UP THE BAND: The Swift Technique crew in everyday attire. has stories to tell.

Like the time the guys played a house party in Washington D.C. on the night President Obama won the 2008 election. After their raucous set, they decided to meander down to the White House for some more celebrating.

“We got split up from the horn section,” Leschinsky remembers. ”The next thing you know, I hear ‘When the Saints Go Marching In’ on horns.”

The horn section had accidentally started a parade of thousands of people through D.C., resulting in news footage around the world and YouTube videos within seconds. Fischer cracks up as he recalls that night.

“We started to walk home and all of a sudden,” he says, “we closed down an entire boulevard.”

Swift Technique prides themselves on bringing all they’ve got to each concert - even impromptu ones like in Washington D.C. or at 8 a.m. after falling asleep on Virginia Beach during a 5k… long story.

“We want to leave positive, memorable experiences,” Blaker says (to which his all his bandmates mockingly reply, “Awwwwwww.”).

Rosen feels it’s imperative to have new experiences while performing, to ensure the band stays fresh.

“If we aren’t interested, no one else will be,” he offers. “So I just try to keep it fresh in my mind, all the time.”

Leschinsky adds that the band constantly remembers what they have gone through as a group. One of the biggest hurdles they’ve had to overcome was the departure of their vocalist of three years, making them an instrumental band, which still stands today.

“The band has been together for four years,” Leschinsky says. “We have trekked through some muddy shit.”

The six-piece instrumental family has a lot of good things on the way, including their first full-length album, which is in the works. They have upcoming gigs scheduled in Vermont, New York, Chicago and Maryland.

“One of our main objectives is to represent Philadelphia everywhere we go,” Leschinsky says. “We’ll be back soon.”

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The JUMP Off Photo by G.W. Miller III.

The Collaborator

Morgan James hangs with the young, multi-instrumentalist and Philly transplant who has big name connections and a world of talent.

Photo by G.W. Miller III.

Khari Mateen has quickly developed a serious reputation in the music industry. He’s recently produced on the critically acclaimed Undun by The Roots, Jill Scott’s The Light of the Sun and The Abandoned Lullaby by Icebird, the RJD2 and Aaron Livingston collaboration.

“Music is situational,” ruminates Mateen. “I’m not going to impose my will upon it in a way that isn’t right for the music.”

A cellist by trade, his creativity explores musical faculties with an intensity attributable to his immense abilities and ease of familiarity.

While growing up in California and Georgia, his saxophone-playing father would whisk him along on trips to recording sessions at the legendary Philadelphia studio of Larry Gold, who is also a cellist. After he graduated from high school, Mateen, now 25, moved here.

“Philly is fucking dope,” he says. “Honestly, everyone is doing something different and everyone inspires me. That’s why I’m here. I’m looking at everyone and I’m trying to work with as many people as possible, to grow from everyone in Philly.”

He’s performed and produced with The Roots and he scored the 2008 Mark Webber film, Explicit Ills, which starred Rosario Dawson and Tariq “Black Thought” Trotter. He has produced regularly for underground electro-pop favorite J*DaVeY. Mateen started his own band, Nouveau Riche, with former roommate Nikki Jean, along with Dice Raw, Dominic Angelella and Joe Baldacci.

After that genre-defying project folded, Mateen helped create the indie-

Chambers Music Society Mercedes Jones meets the Grammy Award nominee who plays guitar for Eminem.

It doesn’t get any saltier than Curt Chambers.

He’s the perfect mixture of determination, undeniable talent and rock-star mentality.

Chambers was raised in Nicetown, a working class community in North Philadelphia. Both 12

rock project, Elevator Fight, featuring Angelella and Baldacci, who also perform with DRGN KING. Mateen sings and plays bass guitar. Actress Zoë Kravitz fronts the new band.

“She’s super cool,” says Mateen.

The band spawned their name after a trip to Disney World, when they had an epiphany on the Tower of Terror.

In 2011, Mateen released his debut solo project, Khari. The seven-track album moves from smooth, neo-soul style grooves, to tight, get-youout-of-your-seat funk, to old-school-style rhyming, to intricate, jazzy instrumentals. And it’s all rooted in his experiences in Philadelphia.

“When I see people in Philly doing music - playing, going out to jam sessions - there’s a great vibe,” he says. “It’s a testament to how important music is to people who live in this city.”

of his parents were singers and his father also played the bass. Chambers grew up spending weekends in a church that was heavy on blues music.

Chambers started with the drums, playing for hours every day after school. When he got to high school, he began reading and writing music, which gave him the control and freedom to create his own sound.

The summer before he started college, Chambers and a few friends hooked up with producer Rich Nichols, who ran the careerlaunching weekly showcase, Black Lily. After auditioning, Chambers and his friends were brought in as Black Lily’s house band.

For a young artist like Chambers, Black Lily was the perfect opportunity. He backed up a wide array of neo-soul artists.

“It was a crash course at being a musician and an artist, while actually getting to work,” he says.

At the same time, however, Chambers was attending William Patterson University. He took classes in Newark, NJ, in the morning and drove to Philly for practice and gigs at night.

“My last month of college, it was like a train in back of me, pushing me forward, and a gate in front of me, holding me back,” he says. “By graduation time, I was literally pushing that gate down.”

Shortly after graduating, he went on the road as a guitarist for Eric Roberson, Floetry, Vivian Green, LL Cool J and Diddy.

“I was doing at least three tours at one time,”

he says.

After touring for a few years, Chambers and his Philly friends formally came together as a band, Franklin Bridge, in 2005. The group took on a bi-weekly residency at Manayunk’s Grape Street Pub. They developed a large following and played around with a few different sounds.

Not long after Franklin Bridge started to gain momentum, the Fox Network’s The Next Great American Band launched.

Franklin Bridge, along with 6,000 other bands, auditioned for a chance to be on the show. The producers loved their video entry and flew them out to the West Coast to compete on the show. They appeared in five episodes but they were voted off the show after three rounds.

“The show was a great experience but moneywise, it was a sacrifice,” Chambers says.

“A lot of us had been touring and working with artists.”

After the loss, the group decided to take some time off to pursue solo endeavors.

Nothing has slowed down for Chambers.

He still tours, traveling the world with major artists like Eminem, Anthony Hamilton, Ledisi, Jaheim and Musiq Soulchild.

He was part of the team nominated for a Grammy in 2011 for his work on the Jaheim song, "Finding My Way Back."

And in February, Chambers released his debut solo album, One Way Ticket. It delivers a blend of rock, hip hop, pop and soul, showing off Chambers’ trademark guitar playing, vocals and songwriting skills.

JUMPphilly.com

Photo by G.W. Miller III.

The Boys in the Band Brian Wilensky learns how Purling Hiss evolved from a one-man show to a trio with major touring partners.

Purling Hiss creates some of the most blistering guitar tones in the city.

They make hard-rocking, psychedelic, Detroit-style proto-punk.

And yet, there was no live Purling Hiss to speak of until recently.

Frontman Mike Polizze started the band in 2008 as a personal project, documenting ideas and recording music he then posted on his Myspace site. He never gave much thought to his personal recordings since they were essentially just home recordings.

Permanent Records contacted him in 2009 and released his first album under the Purling Hiss moniker. He put out several other albums, all on different labels, but it was just him on every release.

After Hissteria dropped in 2010, Kurt Vile asked if Polizze would hit the

road with him and the Violators for a five-week tour.

“Kurt asking me to tour prompted me to get a band together,” he says.

Polizze reached out to bass player Kiel Everett, a former neighbor whom he’s known for a long time. Polizze connected with drummer Mike Sneeringer through John Sharkey of the band Puerto Rico Flowers. Sneeringer doubles as their drummer, too. Sneeringer didn’t meet Everett until Purling Hiss’ first practice.

“Just before Mike rolled up with Kiel, I found out my car had been stolen,” Sneeringer says. “I just decided I wasn’t going to deal with it at the moment and when they showed up, I just said, ‘Fuck it. Let’s play.’”

Polizze says the trio is just three friends who share a desire to create music together, which is probably why it feels natural.

“We just went on tour and played our first show with only about two months of practice,” Polizze says.

They went across the country supporting the Violators for two months in 2010. Last year, they toured Europe for two weeks before hitting the road with The War on Drugs. This year, they’ve been touring the United States with Dr. Dog. “Their management gave them a list of bands to consider,” Sneeringer says. “Apparently, they just threw the list out and called us, which is really flattering.”

Throughout that tour, Purling Hiss unveiled new material that they expect will see a fall release.

“It’s not 100 percent yet but we almost know who our next album will be with,” Polizze says.

That’s right. He said our.

Now its clear to Polizze that it’s time to embrace the new recording arrangement for Purling Hiss. But he’ll still be doing all the writing.

“Working on this record is solidifying this unit as a band,” Sneeringer says. “He’s (Polizze) the principal creator but he’s talked about how much he wants this to be a band, so we’re all pretty happy with where it’s headed.”

Philadelphia, Meet the

Tue 3/20 - Sonni Shine & The Underwater Sounds Fri 3/23 - Funk Church Tue 3/27 - Burn Halo Fri 3/30 - Urban Guerilla Orchestra

ALL SHOWS ALL AGES

FULL LIST OF SHOWS:

DCSConcerts.com

Photo by Michael Beon.

The JUMP Off

The Headliners Sofiya Ballin meets the crew from Ground Up, who are on the cusp of going bigtime.

The home of Philly’s hip hop trio Ground Up is reminiscent of a frat house. As soon as you step through the door, you’re hit with the feeling of haste, the smell of smoke and immense amounts of testosterone.

Frank Santella, one of the group’s managers, runs up and down the staircase, rounding up GOING UP: (L to R) Malakai, Bij Lincs and Azar in the studio. the crew - Bij Lincs, Malakai McDowell and Al Azar, so they can head off to the studio. Azar, year,” Azar says, grinning as he reminisces. to their music, backed by a laptop. Azar one of the two MCs of the group, is the last to Lincs laughs. connected with his friends from middle school, get in the car. He smokes his joint and looks “I’m very picky when it comes to hip hop,” Bij Lincs and Santella, to produce and manage, out the window as the car speeds off. Between Lincs explains. “I listen to jazz and classical.” respectively. This DIY approach and enduring puffs, he describes the differences between He lists off some his favorite artists and friendship is why many of their fans gravitate regular Al and Azar, the performer. He makes groups, from OutKast to Cole Porter. He’s a toward their music. it clear that Azar is in no way a persona. self-taught multi-instrumentalist with the “I saw this since the beginning,” says Lincs.

“Azar is Al but he’s a little more outgoing,” he words “PADAM PADAM” tatted on his wrist.

“We all have such a good friendship. It’s so easy explains. “Azar has to have a smile on his face “It’s a French onomatopoeia for ‘boom boom,’ to be optimistic with these people because all the time.” and the name of a song by Edith Piaf,” he they’re so positive.”

Drake’s “The Motto” comes on the radio and explains.

Ground Up has proven they are more than Santella automatically turns it up.

Lincs takes these influences and marries an opening act. After opening for Philly music “It’s that bass line!” Azar yells, as he proceeds them with hip hop, providing Ground Up with veterans like Freeway and Jaguar Wright, to rap Lil Wayne’s verse word-for-word. diverse beats. As “Layin Low” plays in the Ground Up will headline at the Theatre of the Azar, 22, manages to take four classes at background, heads subconsciously bob to the Living Arts for the first time on March 24.

Temple University while keeping up with chill heaviness. Malakai, 21, the other MC, sits, Now that they’re starting to pick up steam, studio sessions and performances. concentrating, and then enters the booth. His fans have taken to the Internet to voice their “It gets really difficult sometimes voice becomes almost a rumbling fears of a mainstream Ground Up. with the music, school and whisper as he raps the chorus.

“I resent that a lot,” Azar says while sitting in Ground Up maintaining a relationship,” Azar “I was always big on music and the engineering booth. “I speak for everyone in admits. “It becomes a juggling act. will perform at poetry,” says Malakai. “In high school, the crew when I say that. Why can’t we make the TLA on But it’s a great problem to have.”

I wrote three books of poetry and popular music that everybody likes without He talks about music, his recent eventually it turned into rap.” selling out?”

March 24. birthday and Mitt Romney and then, Malakai and Azar met at Temple “It doesn’t have to be that way,” Malakai adds. the car pulls into a parking lot. Once University during orientation in 2008 “We understand that fear, being fans of hip hop outside the studio, Santella, 22, takes orders and they became quick friends. ourselves.” for Wawa.

“At some point, I told him I was working Lincs concludes, “I feel that whether we’re “Sour Patch Kids and a big drink,” Azar says. on this mixtape,” says Azar. “I gave him my mainstream or not, we’re always going to The inside of the studio is decked out with mixtape and he showed me his poetry.” bring something new to the table that is not graffiti art and paintings. Tonight, they’re This trade-off sparked the idea of Ground Up. considered mainstream.” working with producer Ritz Reynolds to They decided to record a song together.

Azar enters the sound booth and nails record the track “Layin Low” from their newest “I was nervous about it because he has a his verse. Friends talk and laugh while mixtape The Get Up, the group’s tenth release. tiny speech impediment but his verse was contributing to the clouds of cannabis smoke “We’re expanding featurewise, getting other unbelievable,” Azar recalls. slowly filling the room. bits from other people,” says Lincs, 21, the “I kind of knew I wasn’t going to stutter,” As time passes, the atmosphere gets more group’s beat maker.

Malakai says and then pauses. “And I was lax. Nearing midnight, Malakai and Azar work Lincs is social yet shy, which complements probably drunk.” with Ritz Reynolds to perfect the track.

Azar’s laid-back attitude. The two have been They circulated their first mixtape, Grand “I have a lot of friends who devote a lot of time friends since middle school in Bucks County.

Opening, via e-mail, text messages and to this,” says Malakai. “I can’t have all these “In 8th grade, I made a pledge that I would SoundCloud. They started throwing parties, people booking shows and doing stuff for me make him a fan of hip hop by the end of the charging at the door, and they performed and I’m not working my ass off.”

JUMPphilly.com

15

The JUMP Off Photo by G.W. Miller III.

Two's Company (But Four Might Be Fun) Maddy Court meets the cheeky punks from Very Happy.

Photo by Bianca Crespo.

Very Happy bandmates Michelle Ritondo and Maximillian WeinsteinBacal II appreciate a good pun and enjoy fancy word play.

"We were going to be Very Very or something like that," says Ritondo, the singer and guitarist, better known as Meesh. “But then Max was like, 'Let's be called Very Happy and every time we’re at a show we can be, 'Hi, we're very happy.'"

Meesh, a 27-year-old lifelong resident of Philadelphia, met Max, a 25-year-old recent transplant from rural Virginia, while both were admiring the Christmas decorations at Macy’s in Center City. They hit it off and in February 2011, they formed Very Happy.

Meesh previously played bass in a ska-punk band called The Illinois Enema Bandits - as in the Frank Zappa song. Max played in a punk band called Booboisie, named after a smug term H.L. Mencken’s coined for the uneducated masses.

“No one ever spelled or said it right,” Max says. “They called us BoobsieWoobsie.”

Meesh started teaching herself guitar at the start of the economic downturn, when she found herself unemployed and on the verge of a quarter-life slump. She resolved to practice every day and consulted friends for help when she needed it.

Though playing guitar was Max’s foray into the punk scene as a high school sophomore, he admits that his knowledge of guitar is less technical than Meesh’s.

“I think my dad bought me a guitar because he wanted me to stop skateboarding,” he says. “I had a couple of lessons but I just had the guy show me how to play Ramones songs. To this day, that’s all I really know how to play.”

As a general rule, Very Happy doesn’t write love songs. Their music tackles the dangers of conformity and consumerism. The DIY punk ethic, which circumvents capitalism whenever possible and creates art just for the sake of creating, is a common theme in Very Happy’s music.

“I don’t know that we have a message,” Max says. “But we have associated ourselves with a community that is equitable and kind.”

Meesh continues, “‘Basement Floor’ is about my friend Jim’s basement, where he used to do shows. It was so dirty that wherever someone stepped, a cloud of dust would come up. People would say, ‘Why do you

16

VERY VERY: (L to R) former bassist Sean Morris, Max Weinstein-Bacal II, fill-in drummer Brendan Graham and Michelle "Meesh" Ritondo. go there? Why do you hang out with those people?’ But I just loved it.”

Though Meesh and Max are wary of attaching too much gravity to their music, it is important to them that their music stand for something. One of their new songs, “Things I’ve Read and Things I’ve Bought,” is about the negative effects media has on women’s body image. Very Happy has played benefit shows and worked with organizations like Girls Rock Philly. They recently turned down a gig because one of the bands on the bill had a rape joke in their lyrics.

Meesh and Max collaborate on songs and lyrics. A typical songwriting session begins with the pair coming up with individual parts, working through them unplugged and then retreating into Meesh’s Fishtown basement to play them really, really loudly.

Very Happy was originally a trio. Then Sean Morris, 24, who played bass on their first album, All of the Times, split to volunteer with the 924 Gillman Street Project, the Berkeley music collective and punk venue famous for kick-starting the careers of Green Day, Jawbreaker and NOFX, among others.

So, Meesh and Max are currently in the market for a third and maybe even a fourth member but they’re hesitant to screw up the band’s chemistry.

The pair, who have been known to double-up beds on tour, want to be as comfortable with the any additional members as they are with each other (and as comfortable as they are with Meesh's dog Lobster).

“When it’s bad, being in a band is like being married to four people you would never even date,” says Max, “My worst nightmare is being on tour and finding out that the guy is anti-choice or something.”

Howling Good

Bianca Crespo meets the horror rockers.

The Young Werewolves growl out contagious rhythms. Just an earful will have you hooked.

Bassist Shewolf Dana Kain, guitarist Wolfman Nick Falcon and drummer Jonny Wolf have been spewing out dark, Munsteresque psychobilly rock since 2002.

Each of the musicians rose from the night on the eerie streets of the city and took the music scene by their ferocious paws, stumbling into each other along the way.

“I was somewhat notorious for my exploits as a teenage graffiti writer,” Falcon says. “And I played in some punk groups growing up in West Philly.”

Then he joined the Army and left town. When he returned, he put an ad in the paper looking

for bandmates. Jonny Wolf answered. He had been toiling in the service industry.

“I had a stellar barbacking career,” Wolf notes.

“And I also moonlit as a secret agent from Transylvania.”

Kain had studied visual arts but it left her unfulfilled. “Then, I discovered that I love music,” she says. When she booked a gig for the trio at a bar in Northeast Philly as The Young Werewolves, the band was officially born.

Their shows are loud and theatrical, with the three dressed in dark, matching garb. They've always loved that brief encounter on stage with the adrenaline monster feasting on their musical souls. But they’ve also released three albums and they’re slowly crafting the next.

“We've started throwing some new song ideas around the practice room,” Kain says. “We're going to try to flesh out a new recording, most likely a 2013-14 release.”

JUMPphilly.com

Photo by G.W. Miller III.

In Harmony, Again Jillian Mallon learns how Good Old War made their new album.

Good Old War, the three-piece folk act that calls Philadelphia their home, completed their third full-length album after touring, recording and growing as a band. The album, Come Back as Rain, dropped on March 6. The title is an homage to an unfinished song of the same name written in honor of lead singer Keith Goodwin’s late aunt.

The songs on this album are similar to those of its two predecessors - 2010’s self-titled album and Good Old War 2008’s Only Way to Be Alone - in that they combine acoustic guitar and pounding percussion with the will perform at voices of Keith Goodwin, Tim Arnold and Dan Union Transfer on April 27.

Schwartz in their signature three-part harmony.

Goodwin says the songs vary in style.

“There are upbeat songs that are kind of chillin’, head-bobbing-type stuff and a couple serious ballad-type songs,” he offers. “But overall, I’d say the mood is kind of easygoing.”

The writing and recording processes for this album were much more collaborative than with their previous albums.

“It started out kind of the same way, where each of us would have individual songs that we had worked on by ourselves,” says Goodwin.

“This time we just sat down and we made sure that everybody was happy with everything and really took time, went over it, sang it, demoed it, listened back to it and made the changes depending on how we felt about it after all that.”

All three members wrote “Loud Love” together.

Goodwin says, “We had the chorus and we were just like, ‘Play a verse, whatever it means to you, and we will just keep it.’ It’s cool because we all sat there kind of in silence for a little bit while everybody was writing their own verse. And then we recorded it.”

As Good Old War’s first album in two years, Come Back as Rain showcases the improvements the band has made as they’ve grown closer through touring and practice.

“We kind of got a sweet work ethic down,” boasts Goodwin. “We try to impress each other with the songs that we write. I think it’s getting a lot easier to write harmonies, to come up with cool arrangements together.”

Though this album has Good Old War sticking to their regular threepiece routine, the band now sees an opportunity to try expanding to a larger backing band in the future. This way, Good Old War can produce more layered tracks that can create a more exciting live performance.

Sticking to the harmonic philosophy of the band, however, remains important, Goodwin explains.

“If we were to get other people,” he says, “I’m sure we’d make sure that they could all sing.”

JUMPphilly.com

The JUMP Off

Photo by Bianca Crespo.

Rock Radio Icon

“Greetings, Citizen!” booms that engaging, rugged voice over the radio waves, through your car speakers and into your brain. Thick and rich - and loaded with music history and culture - the cordial tones seeping through the sound system are nothing short of comforting, especially if you’re a rock ‘n’ roll fan from Philadelphia.

After 28 years in radio, Pierre Robert is an icon. Our Bianco Crespo talks to the bearded legend about his roots, his path to WMMR and the future of radio.

I have always wanted to be as close to rock music as possible. I wanted to be a concert producer. I even wanted to be in a rock band.

But I didn’t manifest any of those things. I’m a

I think the future of radio is great as long as it stays true to its local roots and has a full-time air staff manning the station. If these kinds of stations continue to exist - like WMMR - there will always be room for radio personalities.

Good radio always has room for real people on the air.

My own plans call for me to stay here for at least another three years.

an avant-garde jazz group. Bailly/Millevoi/ Moffett, an improv trio with trumpeter Joe Moffett and guitarist Alban Bailly, released its debut Strange Falls just weeks ago.

As an improv giant, Millevoi is good for the chance meeting and the immediate encounter.

He’ll ply that skill when he and Philly trombonist Dan Blacksberg, the duo that make up the noir-toned band Archer Spade, head to

Oakland to play with legendary Art Ensemble of Chicago saxophonist Roscoe Mitchell.

Archer Spade and Many Arms, the guitarist’s mood-swinging loud power trio, will take up the largest part of 2012. Many Arms is of particular importance to Millevoi as its newest of four albums, Many Arms, due out in March, was produced by Philly’s other noise-guitar kingpin Eric Carbonara. It will be released on Tzadik, John Zorn’s label.

If Many Arms is pure power - extreme in its tempos, Archer Spade is a slightly steadier proposition, with his avant-garde chamber music directly related to Twilight Zone-type sci-fi soundtracks. They work with outside composers, hence Mitchell’s involvement, and treat the work as more of a game-like conundrum rather than mere music.

“Each project is pretty independent, so putting it all together is a bit like a puzzle, both organizationally and musically,” says Millevoi.

Millevoi makes playing difficult music seem like a real joy (even at its bleakest, minor chord best). The guitarist says it all comes down to honest earnestness.

“For me, it’s about playing music – any type of music – in a sincere way and to the best of one’s ability,” he offers. “Sitting down to write a song is extremely hard if I want to stay sincere because composition of that sort isn’t at the forefront of my brain.”

That’s why he’s an overlord of improvisation.

Nick Millevoi thinks best on his feet.

Was being a radio host always in the cards?

Photo by G.W. Miller III.

A.D. Amorosi breaks down the West Philly avant-garde guitar wizard.

18

What’s the future of music radio?

on the radio and in the office. After that, I left San Fran and went to Philadelphia, where I had a few connections.

The Shred King Nick Millevoi is a monster, a dexterous improvisational guitarist who shreds like he’s auditioning for James Hetfield’s seat in Metallica. He can also perform with the soft, aural scrawl of a Gary Lucas or a demonic, airy blues akin to James Blood Ulmer.

More often than not, those noises and nuances of his come out in a single song or a rubbery elongated lick. Yet, if Millevoi – a professional musician since graduating from Temple in 2005 – chose, he could save up each dramatic, avant-garde turn of his six-string for use throughout his numerous projects and parse them out individually.

There’re plenty of gigs at his fingertips. He’s got a solo career that finds him fingering a 12-string electric, and that yielded fruit last year when he released Black Figure of a Bird.

Millevoi’s been part of the oddly-rocking Make A Rising (his most conventional teaming), putting out New I Fealing in 2011, in which he plays the Nels Cline role in Rising’s Wilco-like patter. Circles and Mea'l are two of Millevoi’s oldest inventions, bleak bands whose distant howling sounds are the stuff of local noise lore.

He also plays in Electric Simcha, a Hassidic punk band, and the Johnny DeBlase Quartet,

How far do you think women have come from your perspective in the media, specifically in regards to radio?

Leaps and bounds. There have always been women in rock radio but there have always been more men. We’re still a little top-heavy with more men than women these days but I think there’s some progress being made. Like Marisa Magnatta. She works in my studio, primarily with Preston and Steve. Even though she works backstage most of the time, she’s a vital part of the morning show. Kathy Romano is another influential part of that show. In general, I think women have progressed but there’s still plenty of room for improvement.

Let’s start with origin. Where was the great Pierre Robert born and raised?

I am a California native from a special place, near Lake Tahoe, which is pretty similar to the shore. My family owned a motel. I always loved the rock ‘n’ roll culture of California, especially San Francisco. Music was a big part of my life.

It was actually my older brother who suggested that I become a DJ. I liked the idea. I saw DJs as kinda like gypsies with the way they traveled from town to town. So, I went to school for broadcasting and ended up as an intern in my beloved San Francisco. The internship was at KFAN radio, one of the first FM rock stations. I stayed there for a couple of years, working both

social person, so just being able to host a party on the air fulfills my rock ‘n’ roll fantasy.

JUMPphilly.com

Life After Valencia Shane Henderson toured around the world with his previous band.

Beth Ann Downey learns about the musician's next adventure.

When Philadelphia pop-punk band Valencia announced in October that it was taking an indefinite hiatus from recording and touring, frontman Shane Henderson had one clear message for fans - he’s not done yet.

He wrote it in a statement right after the news broke and reinforced it while standing on the Electric Factory stage during the band’s farewell show in December. And from the novel that could be written about Valencia’s successes, failures and tragedies, Henderson is ready to live the next chapter - on his own terms.

“I really can’t see myself doing anything other than playing music,” he says. “So, even though Valencia’s not really on tour right now or working as a band, I wanted to just keep going and give it another shot with the songs that I have because I’m really proud of them.”

Those songs are penned under Henderson’s solo moniker, Promise of Redemption, which began as a side project and took off after a 2007 debut release, When The Flowers Bloom. The album’s somber, acoustic-based tracks were written and recorded as a tribute to Henderson’s former girlfriend, Dana Leigh Burrell, who died in a car crash in 2006.

Though PoR started as a musical outlet to cope with his loss, Henderson says his new songs will really surprise people.

“It’s going to be somewhat Shane Henderson performing in like Tom Petty-meets-Valencia Philadelphia in 2011. type of vibe,” he says. “There are somewhat rock songs, and then there are songs that are going to be just stripped-down acoustic.”

Henderson has been in the studio since January, pulling from his list of musician friends to provide contributions - including drummers Will Noon of fun. (formerly of Straylight Run) and Jay McMillan from Jack’s Mannequin.

“I’m just playing around with certain things musically in terms of instruments and styles and trying to mix in some things to see how far I can push it,” Henderson says. “When you’re in a band with four other guys who all want different things, it’s a lot of work to try and compromise on certain decisions. But for me, I can really take this wherever I want to take it, which is cool because I’ve never really had that opportunity.”

He adds that Trevor Leonard, who played guitar with Valencia in its final months, has been supportive in the studio --not only helping with writing and recording but by lending an ear and a trusted opinion.

“I rely on him to give me a fresh outlook because you can sort of get tunnel vision a lot of the time when it’s just you,” Henderson says.

Henderson plans to bring Leonard and his band, The End of America, on the road as his touring band. PoR will be tour the U.K. in May. He hasn’t decided whether he’ll release his music himself or enlist the help of a label. He's been getting more into producing lately and he's interested in doing more commercial work (few know he wrote the song featured in the ad for MiO Liquid Water Enhancer).

“I’m actually just kind of looking forward to the challenge of testing myself and pushing myself to work hard,” Henderson says. “It’s all the same challenge for any band. It’s really just a matter of getting your music into people’s hands, telling them what you’re all about and hoping that they latch on to it.”

JUMPphilly.com

The Quarterly DIY

Your Band Needs Internet Skills Booking agents have a process. I’m no different.

Upon opening an email, I quickly scan for a link to their ReverbNation page. I look for this first because the site offers bands – for free – a clean and easy-to-navigate profile that provides music, hometown, shows and links to web and social sites. I start the music and go back to read the email.

Next stop: the Facebook page.

Facebook is a remarkable tool for bands that, unfortunately, goes unutilized more often than not. It’s more than just a platform to announce shows. It’s a key piece to your marketing strategy.

And with the exception of that one friend who still refuses to sign up for Facebook, everybody you know has a profile.

What will they find should they visit your page?

To start, is your profile ‘likable’? It’s mostly the singer-songwriter contingency who are guilty of this but having a profile that needs ‘friending’ is ANTHONY a huge turn-off for potential fans. And it prevents CAROTO you from having a music player or event listings.

Compatibility is required for survival in today’s music widget market, which is why every ‘we can help bands, we’re experts’ company has an app for Facebook, ReverbNation, Twitter, YouTube, CD Baby, iTunes and a slew of others (that you just don’t need to bother with because they’re inefficient and will junk up your page) are all available for syncing.

ReverbNation is my favorite because everything is available at a glance.

It’s the column version of an actual ReverbNation page. A quick scroll down and I can see when and where you’re playing (most venues try to respect the unspoken radius clause).

Don’t overlook the services provided by Facebook, most importantly the events listing. Some people discount its usefulness but I find it to be quite beneficial. By listing your show via the events tab, visitors have the option to share the link on their page as well. And if you choose to post the event automatically when you update your ReverbNation page, all of the other bands and their links will be included. Cross-promotion at its finest!

People want information quickly. It’s easier to bore someone than it is to win them over.

What do you sound like? Where are you playing? How can I keep in touch. Where can I buy your music?

Win me over.

Anthony Caroto founded Origivation, a Philly music magazine, in 2001. He sold off the magazine in 2006 and then bounced around the country before returning to Philadelphia in 2010. He now works at The Grape Room in Manayunk, doing a variety of tasks including promotion and booking.

19

This Place Rocks Photo by Grace Dickinson.

The Boom Room 1300 N. Front Street boomroomstudios.com

Strange Brew Coffee 1321 S 2nd Street facebook.com/strangebrew215 Ed Golden sits alone in Strange Brew Coffee, typing away on his laptop.

When a visitor enters the shop, he explains that the owner will be right back. “I don’t work here,” he says. “I’m just a customer.”

Then, co-owner Bobby Dombroski stumbles in, juggling his bike in one hand and a tripod in the other. He’s helping Golden make a video about interesting things in Philadelphia. Because the customers at the small shop in Pennsport are more than just customers.

After spending a few years in New York, Dombroski returned to his South Philly roots and sold the idea of a neighborhood café and music venue to his old friend, John Farrell.

“When I saw Bobby’s vision,” says Farrell. “I knew I would be into it.”

After about a year of planning, they opened Strange Brew in May 2011.

Since opening, the café has hosted musical performances every Friday.

“The music has been here from the beginning,” says Farrell. “It was not an afterthought to involve it into the café.”

The size of the venue may seem insignificant - the seating area is perhaps a dozen, with standing room for more. However, those who perform enjoy the intimacy.

“I really like how we’re sitting in a living room,” explains Dombroski’s girlfriend, Karley Cohen. “There’s no pressure for the musicians.”

Cohen was Strange Brew’s first performer and is now in charge of booking the Friday night shows. She connects to artists on Facebook and ReverbNation. The café is booked through the summer. They are contemplating adding another night of shows and an open mic night.

“Bring a couple friends,” Dombroski says. “They all can perform. It’s a good starting point, a place to get comfortable in front of a crowd.”

Surrounded by auto garages and abandoned properties, Strange Brew seems a little out of place. The strip is better known for plumed, sequined and frequently drunk Mummers.

“Some people who live here all their lives don’t like change,” explains 20

for Music Church, a Sunday night jam session. Everyone is welcome to participate. The weekly event has hosted notable musicians like Disco Biscuits guitarist Jon Gutwillig and producer and guitarist Mike Tyler.

With the recordings from each jam session, Dann says he will help musicians develop songs, some of which he'll put on a compilation CD. “I want to build long-term relationships with artists,” Dann says.

With quality equipment and a feeling of community, Dann says he sees The Boom Room as a place for artists to learn, collaborate and, of course, make great music.

- Chesney Davis Photo by Yotam Dror.

Tucked away in the burgeoning musical triangle of Northern Liberties, Fishtown and Kensington sits a little recording studio setting out to make some big noise.

Gary Dann, a drummer, producer, photographer and multimedia specialist, opened The Boom Room last October as a recording studio and rehearsal space.

The idea is to bring a more polished element to the raw, DIY culture that surges through the neighborhoods around it.

“I really believe this neighborhood is really special and what’s happening here is really special,” says Dann, who left a job in pharmaceuticals eight years ago to pursue music full time.

In 2010, Dann approached fellow musician (and current business partner), Julian Hinson, about his plan for the venture. With the help of Hinson's real estate, financing, and construction expertise, Dann purchased and renovated the space.

Since then, the business has gone beyond simply slotting recording time with musicians. It also provides comprehensive multimedia services.

“It was created to be a center of the arts,” Dann insists. “I want a band to have their band rehearsal here weekly. When that band is ready to record, I want them to record here. When they're ready to do their video, I want to film and edit it here. And when they're ready to put their website up and connect their Twitter and Facebook, I want to do that for them.”

Also a performance space, The Boom Room is the weekly destination

Dombroski’s mother, Madeline Dombroski. “I don’t see the negative.

People are moving in with so many walks of life - gardening, biking, music. And they’re open to different things.“ Dombroski notes that he’s invited neighbors to patronize the shop. He wants the shop to be a place where everyone – new and old – can talk.

“It’s important to have a say in what that change is going to be,” he says.

All the decorations hanging in the coffeehouse are by local artists. The mugs are from thrift stores and family donations. The brownies are from Cake and the Beanstalk, near 11th and Locust streets. The coffee beans comes from Philly Fair Trade. Dombroski mentions this is the only café in the city that solely French -presses their brew.

Dombroski, who grew up nearby at 2nd and Hoffman, used to visit this location as a child. An old Jewish couple, Gil and Ethel, owned a deli where children, including Dombroski, frequently came for sweets.

The tradition continues at Strange Brew. Candy is still dished out.

“Kids may be my best customers,” laughed Bobby.

Dombroski makes it a point to get to know everyone he encounters, especially the mailman. “I like to meet them,” says Bobby as the postman leaves the shop. “I’m going to see him every day.”

- Yotam Dror JUMPphilly.com

Photo by G.W. Miller III.

Music & Politics

Your Honor, With Soul Judge George Overton, of the Court of Common Pleas, used to perform with The Stylistics. He speaks with our G.W. Miller III about his transition from the stage to the law.

When did you start getting into music?

At age 7. One Saturday, a piano showed up at the house. My mother said, “Start studying the piano." That started a seven year period where I studied classical piano. Hearing the Motown Sound and all of musical groups in the area, I kind of always heard the guitar. I couldn't switch, according to my mother, until I finished elementary school, which was 8th grade. At that point, I got my first guitar.

Did you start performing while in high school?

Yes. A good friend of mine, a guy named Ed Moore, lived around the corner. He's a couple years older. He had already been performing locally with artists like Garnett Mimms.

Through my association with him, and my total devotion to the instrument, I started playing with a group of friends. We were picked up as a back up group by a singing group, which eventually became Chapter One. We were all about 14 or 15 when we started playing the clubs and playing college events.

At that time were you thinking, "This is my career, this is what I want to do with my life?"

No, because I had already decided that I wanted to be a lawyer. I knew as early as probably five.

Through my father (who worked in the federal government), I met some of the local standouts in the legal community. I just had a sense that I wanted to be a lawyer. So this was kind of a detour for me.

Was music then a way for you to generate money or was it a passion?

I think it was something about the instrument.

At that point, Wes Montgomery had hit it big with some of his commercial songs like “Windy.” I just loved the sound of his guitar.

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Also at that point, I started going to the Uptown Theater and I saw the top R&B acts of the day. I just fell in love. I think intrinsically, there isn’t any greater satisfaction than getting in front of an instrument or some art form or anything that you love. It just seems to fill you out. Guitar seemed to do that. I don't know if I can necessarily put it into words. Not to be cliche but it struck a chord in me.

So what was your path to performing with The Stylistics?

I came up with people like George Howard, who was the protege of Grover Washington.

I dabbled in jazz. I was fortunate early on to meet people like George Benson, Earl Klugh and other guitarists who were kind enough to share their art form with me. Eventually I played with a guitarist named Jeff Lee Johnson, who was a guitarist for people like Rachelle Ferrell. He was playing with a group named Blue Magic but he was leaving. I auditioned for the guitarist position. I played with them a number of years, toured with them, basically in the States. And from there I ended up going with The Stylistics.

When you were touring, this must have been the early '70s?

still continue to perform. The good thing about it and a lot of the music of that era, is that it’s timeless. I think Kenny Gamble and Leon Huff, being the prime innovators of the Philly sound, they created what basically has remained a timeless collection of music.

What was the best part of being on the road?

The camaraderie with the fellow musicians.

The opportunity to play quality music and also to play what I would consider - and what I think most would consider - at the top levels of music. And to see the world.

How did you make the transition from music to the legal practice?

At the higher levels of music, there is a business aspect to it. Often times, people don’t realize that music is a business. Seeing the business people, it reminded me that I originally planned to go into the legal realm.

So you left the band and went to law school?

Actually, my first year of law school, I was still traveling with The Stylistics. Talk to any of the singers or the band members and they’ll tell you they remember me studying on the plane or the bus, wherever we were traveling.

No. I started with Blue Magic in the late '70s.

And I started playing with The Stylistics in the early '80s.

Are people surprised when they see you in the court and they learn about your past?

What was the Philadelphia music scene like at that time?

A lot of people are surprised because they don’t equate the two.

It was so vibrant. Both of those groups came out of The Sound of Philadelphia. Philadelphia music has remained vibrant. It hasn't changed.

Both groups that I've played with, they're still active. They've made changes and split into a number of different configurations but they

The type of music you guys were performing was so powerful, soulful. And the law is …

The law is very powerful too. Just like you couldn’t have a world without music. You couldn’t have a world without law.

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Photo by Ashley Hall.

Music & Education

Rockin' Rollin' Rumba Members of the American DanceWheels Foundation teach Lauren Gordon how to dance.

Q

uick, quick, slow. Quick, quick, slow.

My mantra does me no good. My poor partner, who has been dancing for two years now, patiently waits for to me to get all of the moves down so he can too. Apparently, the rhythmic push and pull of the rumba does not come naturally to me. An instructor, Rob Hansberry, sees us struggling, and relieves my partner for a moment.

A former marine, Hansberry squares off before me and clutches my hands. My eyes remain glued to my feet. I wait, and we stand still a little longer. I sheepishly look up and try to mimic the two-step dance move I learned moments ago.

With a forced smile and what must be a ton of patience, Hansberry firmly reminds me that in formal dancing, men lead - even if that man 30

happens to be in a wheelchair, like my partner.

M

elinda Kremer, executive director and co-founder of American DanceWheels, sees no reason to differentiate between a partner who is able-bodied and one who isn't. As she stands in the gymnasium of Olney’s Widener Memorial School, Kremer instructs the room full of students to loosen their upper bodies, encouraging everyone to participate as fully as they can.

“I expect a lot from these kids, and they give a lot,” says Kremer. “If you get someone in your life who expects from you, you expect from yourself.”

Kremer, who trained as a performer at the Academy of Vocal Arts, located near

Rittenhouse Square, never could have imagined the direction her life has turned.

With a flair for the creative, Kremer often took ballroom lessons and went dancing with her husband. Her daughter Jenna was enrolled in dance classes a few years after she could walk. At 11-years old, however, Jenna was diagnosed with a neuromuscular disease that affected her balance and coordination. She couldn’t dance any more, and Kremer hung up her dancing shoes in solidarity.

Kremer was forced to explore the world of living with a person with a disability. Jenna eventually enrolled in a rowing program where she met wheelchair athlete Ray Leight. Their conversations ultimately turned to dance. And Kremer and Leight began dancing together.

They competed in the first Wheelchair DanceSport USA competition and won.

“We won because we looked like a real dance team,” explains Kremer. “He was leading. I was following.”

It was then that Kremer and Leight sought to develop steps and a curriculum for people who use a wheelchair and standing partner dances.

Though wheelchair dancing is a very popular sport in Europe and Asia, there are only pockets of performers in the United States.

“In the beginning, it was a way for me to perform again, a way for me to dance again and for me to think that there was hope for Jenna and people like Jenna,” Kremer says. “The writing of the syllabus was the big turning point. We thought, 'Why can't everyone do this?’ We thought up of a way everyone could.”

American DanceWheels bridges the gap between the able-bodied and those who use wheelchairs. They hold competitions and classes around the region. They teach everyone that they can turn and glide and foxtrot or rumba, on two feet or two wheels, together.

“To be able to go to a wedding and not sit in a corner, that is our goal,” states Kremer. “It isn't enough to give them a ramp to go in. They have to be able to do something when they get there.”

B

ack in the gymnasium at Widener, Kremer is a force to be reckoned with. Confident and assertive, she demonstrates with Rob Hansberry the moves of two agile, standing partners. She translates her swift, rhythmic moves to ones that mirror them with a sitting partner. Several steps and twirls later, she orders the group to try the moves. And despite the fact that every person in the room comes from a different comfort level regarding dance, the begin to move.

“We've had some resistance in the past,” Kremer says, “but not in this gymnasium.”

The biggest in-class obstacle is fear, she tells me. Not only are partners self-conscious about dancing in public, many of them fret over whether they’re able to understand and communicate with each other. Though there JUMPphilly.com

are requirements for people with disabilities to participate - like being able to move their own chair - people still are leery of just what the connection will be like. Even Hansberry, a dedicated student-turned-instructor, was wary in the beginning.

“I walked past the door three times before I even went in,” he recalls of his first time attending a class.

An employee at Bank of America at the time, Hansberry sought community service where he could really become involved. He had never danced before - if you had told him years ago thdisaat he'd be ballroom dancing, he would have laughed in your face. Now, he makes the trip from his home in Delaware twice per week to assist Kremer’s classes.

“I get so much more out of it than they do,” he admits. “There is nothing quite like what happens here. Those kids are amazing.”

A

merican DanceWheels instructors have taught hundreds of people who use wheelchairs and standing partners how to dance together. The organization is planning a trip to the Palo Alto

Veterans' Hospital for a six-week program to help vets learn how to dance and socialize if wounded. There are many therapeutic benefits to these programs, Kremer says, like developing better social and physical understanding of self. But Kremer still views the project as a way to simply teach dancing.

In 2007, Kremer lost her daughter, Jenna, who passed at the age of 22. Despite the loss, Kremer has never given up on her vision. She works tirelessly on fundraising so that the organization can continue introducing dance to people who otherwise might not realize they could. It isn’t easy in these difficult economic times.

“No one wants to pay to have these kids dragged around,” she says. “But they aren't being dragged around. They are working their butts off on these steps as well. Do they really not understand that a person with a disability is just someone sitting down? And they’re so much more alike than they understand.”

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JUMP Presents

Chiddy Bang: Breakfast of Champions Even though the recently released Breakfast is their debut album, Chiddy Bang are by no means new to the game. The duo behind it all, Chidera “Chiddy” Anamege and Noah “Xaphoon Jones” Beresin, met while attending Drexel University a few years ago and have been dropping music ever since. They’ve been more places and done more things than most 21-year olds, including having The Roots back them on late night television. Our Colin Kerrigan finds out how it all started, what they eat for breakfast and more.

Drexel is a pretty big school. How’d you guys meet?

What was your musical upbringing like?

Chiddy: We were freshman in the fall of ‘08. He was a music industry major and I was a business major kid. I was the kid who was like, “School’s cool and all that but I want to get into the (music) lab. Like how do I do that right now?” So naturally my first instinct, I thought I needed to find myself a music industry kid who had access to the lab or the studio. And he presented himself (pointing to Noah). And we got into the studio.

Noah: My main instrument is the piano. I used to play at the Clef Club growing up. They have a program for kids. Its on Broad and Fitzwater. I used to go there when I was like 10-, 12-years old and play with all these amazing jazz arrangers. They had Leon Mitchell, who was an arranger for Duke Ellington, just giving music theory lessons. It was a really amazing place to be. I wanted to be a jazz musician until I was like 13 or 14. Then I found hip hop and was like, “Game over.”

Noah: At the time, I had already met the studio manager and he saw that I knew what I was doing. Even though the studio was reserved for juniors and seniors, I got him to grant my swipe card access. No other freshman had access to Studio E, the one with all the turntables and synths.

I think we met at a party and Chiddy was rap-battling some dude. What struck me about Chiddy is that every word that he said, you could hear.

I grew up with the typical Philly rap mumble where you can understand very little words (he laughs). And at the time, I was looking for a rapper who could cut through the mix, someone like Jay-Z where you hear every word he’s saying. Like sonically, really on point. And that was Chid.

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Chiddy: My musical upbringing was more just listening to music, ya know? A lot of Dipset, Jay-Z’s The Blueprint, Kanye West’s College Dropout.

I grew up freestyling, though. That’s how I came into the whole music thing. Freestyle rappin’, ciphering with people on the phone in like 8th grade. We’d be on the phone ciphering, playing beats in the background.

Where did you guys grow up?

Noah: The first house I lived in was at 46th and Spruce cause my mom was teaching at Penn during that time. She was actually going to Penn JUMPphilly.com

at the same time to get her Ph.D.. She was like a teaching assistant, I think. We were at 46th and Spruce in West Philly and then we needed a bigger place to live cause we lived above a doctor’s office or something. So we moved to Mount Airy and I grew up there. When I was 18 and wanted to live on my own, I lived in South Philly. So between West Philly, Mount Airy and 13th street in South Philly, I’ve lived in a lot of places in Philly. I have a very deep connection.

I didn’t even want to go to Drexel. I didn’t even want to go to college. I went to Masterman for high school on 17th and Spring Garden and they were like the best magnet school of the public schools. So they were like, “Everyone in here is going to college. We have, like, a 100 percent going-to-college and graduation rate.”

But I never wanted to go to college cause I wanted to work on music.

My mom was like, “You know, you should go to Drexel. You have a scholarship. It makes sense and you might meet some people. You might find some more people to make music with.” I had plenty of kids to make music with but they didn’t want me to be in their bands.

I was just their recording engineer.

I recorded this rapper Theodore Grams, who taught me how to make beats and stuff. But I didn’t have my own project. So my mom was like, “Maybe if you go to Drexel, you’ll have your own project.”

Photos by Colin Kerrigan.

I lived in the dorms at Drexel on 34th and Arch. I lived in Towers on the 8th floor and Chiddy lived in the next one over, Calhoun, from the start of freshman year in 2008.

his manager kind of gave me the olive branch to get back in the group. They didn’t extend the same olive branch to the other kids in the group, which is something that sucks and is shitty - but it’s real life.

the music thing as long as you take a couple of classes.” I did that for a while until I was like, “No more.” I went to class for like a month then I eventually just stopped going. It’s been music ever since, full time.

I wanted to stay in school at this point. I was like, “I don’t know if everything’s all good with this Chiddy situation. Like, Mom, maybe I should stay in school another year.” My mom was like, “You’re miserable and clearly talented and know the right people to get started so get out of school.” And I was just lucky enough to have a mom who knew when it was important to be in school and also knew when it was the right time to leave school. So that’s my advice… if your mom’s smart, trust her. If she’s not smart, then don’t.

Your album had been in the works for a while. I heard rumors it was coming out last year, and then a few months ago. What's the story?

Noah: We did half of it in West London, in a studio called Wendy House Studios. I would walk over around 11 a.m., lay down piano and work on the string section. We did the other half in Los Angeles at Moonwine Studios, which is the craziest fucking studio. They got a nice backyard. It’s really simple. It’s really cheap. The space is the nicest thing about it.

We did one track in Philly at this dude’s studio in Fishtown called Cedar Street Studios. Then we put the finishing touches on it at Stadium Red in Harlem. So we went from Los Angeles to UK to Philly to New York.

So your album is called Breakfast?

How did you guys decide on that for the album?

Noah: It started out as me and Chiddy realizing breakfast had so many meanings. We would always have something crazy good happen to us while we were eating breakfast.

We found out that we went platinum in Australia when we were eating breakfast. Then breakfast came to mean another thing. It came to mean to provide for people around you, to rep where you’re from and to make sure everyone on your team is eating, and everyone in your family is eating breakfast.

We were a four or five-piece band when we started out. In May or June of freshman year, I think Chiddy was deciding if he wanted to be a Chiddy: When I broke the world solo artist rapper or have a group record (for longest freestyle), MTV of us work with him. Nothing was asked me if there was anything I certain and he was going off with needed. I said I needed breakfast his new manager who we never met in the morning (he laughs). It’s and it was terrifying. So we didn’t just a key theme for us in terms of know anything that was going on. BANGING BREAKFAST: Chidera “Chiddy” Anamege (top image, on whenever something good happens.

Chiddy went away to tour with De right) cooking eggs and Noah “Xaphoon Jones” Beresin eating.

La Soul for a little bit and we were This is a cheesy question, but what’s Chiddy: For me, I drifted. I got Nigerian not included. I went and got a job at a summer your breakfast of choice? parents so I know how they are with the school camp. I was not a good camp counselor cause thing. I knew in my heart of hearts what was everyday I would be dipping on the phone Noah: I put him on eggs Benedict. He didn’t gonna happen and what was gonna occur. I just like, “Yo lawyer, what’s up? How’s everything know about that. sort of held on to school for as long as I could. going?” Cause I single-handedly produced When the summertime came, it became more all of Chiddy’s stuff. The other dudes didn’t Chiddy: I didn’t know about that. But now I and more apparent that I wasn’t gonna go back help. Chiddy didn’t help. I would just email love it. there. I enrolled part time at a state school him beats and he would go to the studio and near my house. They (his parents) were cool come back. His manager realized that I owned Noah: My dad makes breakfast in our family. with that since they saw stuff happening with half the publishing to all the songs since I He makes toast, eggs and coffee, and somehow the music thing. They were like, “You can do produced them. So in the fall of 2009, him and it manages to be the best shit ever.

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Cover Story

Cheers Elephant Is Poised To Break Out The Fishtown-based band's new album will make you dance, as writer Kevin Brosky finds out. Photos by Colin Kerrigan.

I

t’s a mild October night for Blocktoberfest, an outdoor music and beer festival on South Street, west of Broad Street for a few blocks. These blocks include the Jamaican Jerk Hut, whose adjacent vacant lot and stage have played host to several bands and a large crowd into the evening. The festival is beginning to wind down when Cheers Elephant, the night’s closing band, takes the stage.

Then, after greeting the remainder of the slowly dwindling crowd with a “guten tag,” the four-piece Fishtown rock outfit explodes into the infectious two-chord hook of “Party On Darwin,” a frenzied jam from their thenupcoming third record, which dropped in March. Out of nowhere, there’s wild dancing, both from the instrument-wielding dudes onstage and the suddenly resurrected audience. Free beer appears. It’s a party.

Lead vocalist and guitarist, Derek Krzywicki cavorts crazily about the stage, his electric guitar an extra appendage of his constantly 34

moving torso. Lead guitarist Jordan del Rosario is all over the neck of his screaming guitar, often joining in for backing vocals along with bassist “Travelin’ Matt” Rothstein. Drummer Robert Kingsly, known simply as “King” to his bandmates, is a man possessed. He drums barefoot (because, “it just feels right”), his flailing arms reaching high above his head between each snare drum wallop.

The band rips through songs from Man Is Nature, their early 2011 release, like “Shark Attack,” “6th and Girard” and the euphoric, “Jumbo Shrimp.” The set’s finale, “Space and Time,” is a churning storm of distorted guitar and bass licks and ferocious percussion. With the final note, King slumps over the drum kit in sheer exhaustion.

If there were only half the people still left on South Street as there were a few hours prior, Cheers Elephant didn’t notice for a second.

“While we’ve started taking our music more and more seriously, somehow, onstage, we’ve

learned to take ourselves less seriously, and I think that’s a good thing,” explains Krzywicki.

The singer says he and his bandmates are adrenaline junkies who are constantly evolving.

“When I see evangelical preachers on TV, caught up in the moment, with their bodies out of control, I understand where they’re coming from,” he jibes.

I

n the months since the festival gig, the band has put the finishing touches on a brand new record, Like Wind Blows Fire, one they assert is their most well-produced, mature effort to date. They’ve spent countless rehearsals revamping their live sound and presentation. They’ve shot music videos for new songs. They’ve booked a March tour of the East Coast and Midwest, which will take them through SXSW in Austin. They have a new van.

In short, they’re ready to take this to the next level.

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“I have little doubt that we’ll be a full-time band this year,” Krzywicki says.

He’s got a convincing argument.

T

he members of Cheers Elephant and a crowd of friends are gathered in the upstairs recreation room at Saint Michael’s Church in Kensington. It’s the headquarters of Rock to the Future, a free, after-school children’s music education program, an organization for whom the band is planning a benefit gig.

Here, a camera crew is ready to capture a simulated Cheers Elephant show on the room’s small stage. It’s the final scene for the music video they’ve been shooting throughout this mild week in January for “Doin’ It, Right,” the jivey lead single from Like Wind Blows Fire.

The crew shoots dozens of takes of the bridge section and outro. It’s the most energetic section of the song, with Rothstein’s pounding bass leading into a gigantic chorus of “ahhhhh”s. The “crowd” jumps in unison, arms reaching for the ceiling, as though this really was one of the best shows for which they’d ever been in attendance.

They shoot take after take, the band and audience getting progressively sweatier. For one take, the crew affix a camera to Krzywicki’s abdomen and he crowd surfs onto his back into the eager arms of his pals. For the final take, dozens of balloons come down from above the spectators.

“If only all our shows could be this crazy,” Krzywicki jokes.

They’ve also shot a 3D video for “Balloon in the City,” the album’s dreamy, acoustic closing track, which features Krzywicki as a Russian cosmonaut who gets sucked into a wormhole and transported to a distant planet.

It’s simple, but it’s memorable.

I

t’s February and the Fishtown quartet sits at a booth in the El Bar, a local dive and regular hangout, beers in hand.

They’re musing about the history of their band, which extends all the way back through middle school in Downington, when Krzywicki, Rothstein and Kingsly were Instant Breakfast, a pop-punk outfit.

“Still the best band name we’ve ever thought of,” Krzywicki jokes, and the rest of the crew at the table nods and laughs.

“They told me they needed a bassist,” Rothstein remembers. “I had no idea what a bass even was.”

They recall the summer of 2005 (jokingly, their “Summer of Love”), becoming Cheers Elephant, recruiting Rothstein’s cousin, del Rosario, to play lead guitar and setting out to form a band inspired largely by weed and

the Beatles. Speaking of the latter, they’ve been invited to play the Abbey Road on the River festival, a summer music festival and celebration of the Fab Four in Washington, D.C. and Louisville, KY. All in all, the mood is jovial. They’re thinking about their upcoming record release party at World Café Live, and then they’re heading out on the road to share their new music with anyone who will listen.

And people will listen. And dance. The band members know the hard work they’ve put into their band for so long is about to pay off.

“We feel like we’ve been pushing this boulder for so long,” Krzywicki explains. “Now it’s finally gotten to the point where gravity is starting to help us out.”

CHEERS, ELEPHANTS: (L to R) Robert Kingsly, Jordan del Rosario, Matt Rothstein and Derek Krzywicki showing off their good stuff in Northern Liberties' One Shot Coffee.

O

bviously, a lot has happened for Cheers Elephant since early 2011, when they released their locallyacclaimed second LP, Man Is Nature.

“Houses have burned down, members have lost and gained girlfriends, there have been earthquakes and hurricanes, all during the making of this record,” Krzywicki quips.

“We’ve spent a lot of time crafting these songs.

Everything that’s there should be there.”

The new record, unlike older efforts, took place a little more organically in the studio, band members say. Recorded at Drexel University’s Mad Dragon Studios, Like Wind Blows Fire also marks the first time the band allowed outside producers to influence their recording process. All the members agree, the “outside ears” played a valuable role in crafting a more mature, better-produced final product.

The maturity is instantly apparent on the lively opener, “Peoples,” with its Beatlesesque three-part vocal harmonies and later, on the toe-tapping title track. The production is precise. There’s no fluff anywhere to be found.

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JUMP Presents

Everything's Going Gogo Niesha Miller meets the Philly native who toured the world with Lady Gaga and is now launching her solo career. Photos by Marie Alyse Rodriguez. Styling by Rebecca Roe from Rockers Closet.

J

ust one hour after shooting a showcase pilot with NBC, Gogo Morrow sits at a booth at Johnny Brenda’s and reminisces about her childhood in Philly.

“In the summertime, when I didn’t have school, I would literally sit in the house all day and watch The Box,” says Gogo, 24. “And I would pray to God, my video, the one I wanted to see, would come up.”

Unlike her four sisters, Gogo had little interest in playing outside. She didn’t know how to cornrow hair. She couldn’t jump double dutch but she was a good turner on the ends. Instead, the singer stayed in her room, listening to CDs, practicing riffs and writing lyrics from songs by her favorite artists, Brandy and Deborah Cox. “Ever since I was little, I’ve been totally consumed and obsessed with music,” the singer confesses.

The singer, dancer and songwriter has flirted with performing since she was a baby.

She would carry tunes her father would sing around the house from his group, the Golden Chandeliers.

At the age of 12, she toured with the Rainbow Company, a multicultural theater comprised of middle and high school-aged performers.

This was where she shaped into the explosive performer she is today. A few years later, she would be accepted into the prestigious Philadelphia School of Creative and Performing Arts, where she was a vocal major.

When she was 16, Gogo and her girl group, Bella, schmoozed their way into opening for

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Bobby Brown. Some guy claiming to be Brown’s cousin promised the girls an opportunity to open for the notorious performer at the House of Blues in Atlantic City. After making their way past security, the girls spotted Brown and told him about the alleged cousin.

“He said ‘I didn’t know anything about ya’ll being here but alright. Go for it,’” Gogo laughs.

Her stage name was inspired by Gogo Yubari, the 16-year-old assassin from the movie Kill Bill Vol. 1.

T

he soulful R&B singer compares her sound to music “guys in the hood blast in their cars”—songs you can dance to that are filled with 808s and a lot of bass.

Like her voice, Gogo’s style is powerful. She wears a pair of custom-made cutoff shorts with a vintage turtleneck. Her silver wire earrings hang just above her shoulders, taking the shape of a large vertical zigzag. And to top it off, her six-inched Jeffrey Campbell boots are

laced with thousands of white, blue, pink and green pieces of glitter.

“I’ll wear anything from Gucci to the thrift store,” she says. “My style would say that I’m not afraid to try anything.”

I

n 2009, she received the opportunity of a lifetime. She was selected as one of three girls to dance and sing background for Lady Gaga on her 2009-2011 Monster Ball arena tour.

“For that to be my first international tour, and to be with the biggest star in the world, I was like ‘I can’t be more blessed,’” Gogo admits.

“I built a second family by being on tour with everybody who was a part of it. Everybody just shared same sweet, appreciative, grateful spirit. They’re my family.”

Taking thousands of pictures wasn’t enough while touring with the Haus of Gaga across Europe, so Gogo pocketed room keys from every hotel she stayed in.

JUMPphilly.com

Special thanks to Rockers Closet, 818 S. 4th Street, for outfitting Gogo during the photo shoot.

Learn about the shop here: www.rockerscloset.com.

“It’s my way of having a souvenir,” she says.

“I wanted something physical I could hold on to besides some pictures.”

S

everal months after touring around the world with the megastar, Gogo is back in Philly, launching her solo career.

She uses her influences from the different cultures she experienced in her music and performances.

“Lyrically, I have a lot more to write about,” she says. “I’ve seen so much. It really opened me up to a world I never knew anything about.

I incorporate it into how I operate every day because I’m very humbled by the experience I had.”

Besides performing at mega-venues around the world with Gaga, she’s performed at Theatre of the Living Arts, the Electric Factory, Sigma Sound and Luxe Lounge in Philly.

“I’ve been in the arts forever,” she says, "and Philadelphia is where it all happened."

JUMPphilly.com

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JUMP Presents

MUSIC

WITH

VISION Photo by Ashley Hall.

Photo by Grace Dickinson.

Cary Carr meets the people visualizing local music

Dan Centrone Films WHYY's On Canvas Dan Centrone sits on his computer, scrolling through music videos featuring breakthrough artists like hip hop sensations Kid Ink, Travis Porter and Jahlil Beats. He knows every word, every transition and every scene, inside and out. He knows because he’s the one who brought their records to life.

Centrone, 20, already runs his own business, Dan Centrone Films, and he receives requests from artists all over who need him to make their songs go viral. His work has been topping the charts on YouTube and even featured on major music websites like AltPress.com and XXLMag.com.

He got started in filmmaking before he even entered high school, shooting skate videos with friends. His skills, he says, evolved purely through experience.

“You have to be constantly pumping out work and visuals to get your brand out there and get yourself more well known,” Centrone explains.

“Hip hop’s a little more glamorous. You’re seeing that on TV all the time.

It’s about an image, so you have to upkeep that image. Video’s a big way to do that.”

Whether there’s a short storyline like in Ground Up’s record “Boulevard” or an all out performance with a party in a warehouse, like Diamond Kuts and Travis Porter’s “Freak,” Centrone collaborates with artists to perfectly portray their visions. When the shoots are in Philly, Centrone can add a little something extra to the videos - his love for the city, where he’s lived his whole life.

“The city just kind of opens you up,” Centrone says.

Centrone says when he listens to artists’ songs, he can visualize what neighborhoods would work well and what in Philly he could incorporate into the videos.

“I’ve lived here for years,” Centrone says. “I know this entire city, south to north, kind of like the back of my hand, each little spot and nook.”

Centrone says the area could be the next hot spot for the next wave of breakout hip hop stars like Jahlil Beats, Meek Mill and Ground Up, who are all making a name for themselves. Plus, Centrone says, the poppunk scene in Eastern Pennsylvania is exploding, with bands like Man Overboard, Title Fight, and Balance and Composure.

“It’s a hard city to get accepted in, so it’s a little bit tougher,” Centrone explains, “which makes it better when something good happens.”

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By intertwining musical performances with interviews and intimate biographical information, WHYY’s Emmy Award-winning program On Canvas breaks ground, creating thoughtful content that entertains as well as it informs.

“We like to think of it as a behind the scenes look, with interviews with the artist that you would maybe never hear anywhere else,” says associate producer Lisa Gray. “You might find out something interesting about them that they never told anyone else.”

Now in its fifth season, producer Steve Kwasnik and Gray, along with staffers Trudi Brown and Pete Scaffidi, are thinking of new, innovative ways to showcase artists performing at venues around the region.

Take for example their recent episode with jazz pianist and North Philadelphia native Jimmy Amadie. The well-known musician played for the first time in 46 years at a concert at the Philadelphia Museum of Art. The episode, which took about one month to produce, shared Amadie’s intimate back story on his battle with tendonitis, told between footage of the emotional performance.

Although On Canvas features nationally recognized artists, the producers take pride in their Philadelphia musicians.

“Someone who is local and has gone out and made a big name for themselves, we of course have a special affinity towards,” Kwasnik explains. “We’re always like, ‘Well, if they’re from Philly, we have to be able to shoot them.’”

For the kickoff of On Canvas’ fifth season, they documented In the Pocket, a music project featuring a collection of Philadelphian music legends. The episode featured The Hooters’ David Uosikkinen, who leads the project in which they record the “essential songs of Philadelphia.”

Former Hooters Rob Hyman and Eric Bazilian were joined by Tommy Conwell, Jeffrey Gaines, Cliff Hillis, Graham Alexander and Richard Bush, among others. Proceeds from In the Pocket sales benefit Philadelphia’s Settlement Music School.

Other episodes have documented a wide variety of artists, from Buckwheat Zydeco to Ra Ra Riot, Dr. Dog to George Winston.

“I think once people see the show,” Gray says, “they’ll learn so much about the artist and what the person’s all about that once their name comes up again in conversation, they’ll have a lot to say.”

JUMPphilly.com

Mr. Green Philadelphia is a goldmine according to Aaron Green. With the amount of everyday talent you can find on any given corner, the hip hop producer, better known as Mr. Green, has world of raw material to work with. His innovative video series “Live from the Streets” is just starting to take off and take hip hop in a whole new direction.

Green, 29, has been producing and mixing beats for 10 years. After creating his first album, The Only Color that Matters is Green and producing songs featured on MTV’s The Jersey Shore, the classic hip hop fanatic is ready to introduce our city to something out of the ordinary.

“Live from the Streets,” which began in 2011, combines interviews with street musicians and clips from their music and puts them together in short documentaries. He creates elaborate tracks by sampling the sounds he records.

Green hopes to give attention to the underdogs, the people with the most interesting stories.

“We don’t even really like the guy who has like $100 in his bucket,” Green says. “We kind of like the guy who’s down on his luck a little bit, who isn’t doing so hot and might not even be the most outgoing.”

Green wants the project to blow up, especially if it will help out the street musicians. He hopes to give them a portion of proceeds generated by selling tracks made from the recordings.

He says that it’s relatively easy to find people to open up and share their stories.

“It’s a street city," Green says. “People have stories. People have been through stuff. People live cold lives but you’re likely to get warm responses from them, which is really cool.”

His videos certainly live up to the songs, with intimate interviews and stories that are heartbreaking, yet inspiring. And the video platform is essential to get people interested.

“Video gives people a chance to be wrapped up in more than one thing than just the music,” Green explains. “It’s something else for them to focus on."

He hopes to get a TV deal for “Live from the Streets,” and maybe even start rapping himself once he gets enough practice under his belt.

Check JUMPphilly.com to see videos!

It’s almost impossible to keep up with Gianni Lee as he explains his long list of projects: owner of clothing line Babylon Cartel & CO., self-taught DJ, music video producer and creative manager for Jade Alston, among other projects. He’s the epitome of a selfmade entrepreneur and this 25-year old is just beginning his journey to fame.

Lee’s interest in music peaked after he enrolled at Temple University. After learning the basics of video production and combining that with the creative skills he developed at Philadelphia’s Charter High School for Architecture and Design, Lee created Babylon Cartel, a clothing line paired up with original music video content.

“Fashion and music can co-exist because a lot of times, people try to make money off it,” Lee says, taking a break from checking his Twitter account. “I try to merge the projects together.”

In 2011, Chill Moody asked Lee to shoot a music video for his song, “My Eyes.” Lee improvised the concept and edited the content, working alongside the hip hop artist. Lee also

Bands In the Backyard Over the past few months, Kyle Costill’s small backyard has been receiving a lot of visitors. A series of Philadelphia bands, one designated for each month of the year, have been setting up there and performing for the up-andcoming project, Bands in the Backyard.

Costill teamed up with David Kain to create the web project, in which episodes of the outdoor sessions are posted alongside up, close, and personal backstage clips with various bands before they perform.

A former musician with the band Trouble Everyday, Costill conceived of the project with a goal in mind - to put musicians and artists in a situation they’re not used to, while providing

Photo by G.W. Miller III.

Photo by Grace Dickinson.

Gianni Lee

produced videos for R&B singer Jade Alston as well as Paris Artelli.

“In this day and age, we’re very visual,” Lee explains. “It takes much more to captivate us than it ever did before, so you need creative people to come across and just keep thinking of wild ways of making videos.”

While Lee aspires to become an international DJ, he says his love for Philly and its exploding electronic music scene will keep him here.

“I like the hustle of Philly,” Lee states. “Philly has its ups and downs but in 2011 there were a lot of young people coming up and they’re making their own way.” viewers with a unique and musical visual of the transition of seasons.

While trying to showcase all the great talent in Philly, Costill makes an effort to pick bands with their own distinctive sounds.

“There’s not just one type of style that’s making Philly cool,” Costill says as he gushes over bands he’s already shown off Summer Fiction, Ports of Call, Faux Slang, Streetwalkers, Oh Pears!, Arc in Round and Break It Up. Although not trained in videography himself, Costill isn’t afraid to pick up the camera. But he also has an extensive team behind the BITBY movement, including his younger brother Tyler, who often brings along a film crew from Drexel University.

Costill, a full-time graphic designer, wants to turn BITBY into his full-time career by generating a collaborative effort between photographers, videographers and creative thinkers. The entrepreneur says he has high hopes that the project will enable viewers to see what bands really go through while simultaneously inspiring musicians to continue doing what they love: creating music.

“In video, you can get moments where you can really see how into it the band is,” Costill says. “There could be little victories for everyone.”

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I got th

at PMA

!

So many good shows in the DIY Punk/ Hard Core/ Metal scene are gone forever after the last chord rings out. “Are they handing out guns yet?� has been preserved online for free download and accompanies this section of Jump Magazine. A small run of Tapes and CDs are availible, but might be hard to come by.

BROPAR.COM/JUMPPHILLY.COM For download.

-Billy Barton 2012

Food That Rocks

The Chocolate Lunatic and the Union Transfer Bump Venezuelan restuarant Sazon, which features mind-blowing desserts, is benefitting from their new musical neighbors, as Kim Maialetti discovers. Photos by Jessica Griffin.

S

tanding behind the chocolate counter at Sazon, Robert Campbell “I’m not always charming,” he says, just in case someone starts to get says, “I know I’m one of the best on planet Earth when it comes to the impression there may be a soft spot beneath that gruff exterior. my drinking chocolate. No one can touch it."

The two show off a snapshot from their wedding day in Venezuela.

It’s a bold statement but Campbell, 41, is She is in white and he is in black – gym prone to them. clothes. They are hugging a tree in the “I know people think I’m a lunatic,” middle of a public park. says the man who owns and operates “It was good. It was us,” Suzarrathe restaurant with his wife, VenezuelaCampbell says with a smile. native Judith Suzarra-Campbell. “It’s They honeymooned in the mountains of very rare you meet somebody as original Venezuela, with his mother and her young as me.” nephew in tow.

No argument there. Campbell is “I had to have sex with my wife in the definitely an original and may very well bathroom,” Campbell says. be a lunatic, too. But it does take a bit of either Campbell nor his new craziness to do what he’s done.

Consider that nearly 20 years ago, bride gave much thought to what he dropped everything to follow a girl came next when they settled to Venezuela after meeting her while back in the States. With no plans, he, a bouncing at the original Café Nola on SWEET & LATIN: Robert Campbell (top) in the display semi-pro cyclist, found work in a bike South Street. case. Truffles (bottom). Campbell with wife Judith Suzarra- shop and she landed a job at Walmart.

When in Venezuela, he joined a gym. Campbell (opposite, top) and a chocolate dessert (below). She quickly went from folding T-shirts One day, he couldn’t help but notice a on the retail floor to counting cash in the woman doing aerobics for four hours straight - Judith. finance department. When she learned that Walmart needed someone to “I stole her from her boyfriend and she stole me from my girlfriend,” assemble bicycles, Suzarra-Campbell enlisted her husband’s help.

Campbell says. “Our first date was, ironically, at a place called Ciocolatte.

What started out with a few hours a week at a single store, turned into They didn’t have good chocolate.” a full-time business building bicycles for Walmarts around the region.

For her part, Suzarra-Campbell, 44, says it was love at first sight.

But while things were going okay in the States, Suzarra-Campbell “I’ve always loved white guys,” she says, looking fondly at her husband, found herself missing the tastes of home and lamenting the lack of good who, with his light skin, bald head and six-foot-plus frame, could pass for Venezuelan food here in Philadelphia.

“How hard could it be to cook your own food?” she recalls asking herself. a Viking in a different setting. “He was my Prince Charming.”

And with that, Sazon was born.

Charming? Not Campbell.

N

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JUMPphilly.com

L

ocated at the corner of 10th and Spring Garden streets, just a few doors down from a shooting range and the site of the first Hershey’s candy store, the restaurant has served traditional Venezuelan food with a healthy twist since opening in 2004.

“Latin food without the heart attack,” Campbell calls it.

Suzarra-Campbell grinds the flour for the arepas - corn patties stuffed with various savory fillings – by hand. She only uses corn or olive oil for frying and also offers vegan, vegetarian and gluten-free options.

The Patacon, the restaurant’s number one selling dish, is a tower of freshly grilled vegetables sandwiched between two saucer-sized tostones, which are fried green plaintain cakes. It requires some strategizing before digging in. Tip: start at the bottom to avoid an avalanche of vegetables on your plate – and the table.

Sazon features other traditional dishes including empanadas, arroz con pollo and asado negro, a dish of slow-cooked beef coated in a thick, sweet brown sugar syrup.

Dessert offerings include three-milk cake, flan and churros with chocolate sauce for dipping, as well as a long list of hot chocolate combinations that range from the Clasico to the Smurf (with blueberry port wine and blueberry cream).

Campbell, who used to steal money out of his dad’s jeans pocket to buy chocolate, also added another combo that hasn’t made it on the menu yet, the Unnamed. Inspired by a recent performance by The Slackers at Union Transfer, Campbell blended his drinking chocolate, which he roasts himself, with Knob Creek bourbon, star anise and apricot cream.

C

ampbell credits the opening of Union Transfer with filling an additional 25 tables per week.

“I thought it was going to be nothing but goofy kids and hippies with no money,” says Campbell. “I like how eclectic they are, how they’re bringing in people from all over the world.”

John Taylor of the '80s supergroup Duran Duran recently ate at Sazon.

Owning a restaurant seems second nature to Campbell and his wife.

She grew up making arepas from the time she was old enough to see over the stove. He grew up with a mother who made 25 different types of cookies at Christmas time.

“I got spoiled from having a mom who cooked good food from scratch,” Campbell says. “I had holes in my Converses but we ate good food.”

Sazon (sazonrestaurant.com) is open for dinner from Tuesday through Sunday, and serves brunch on weekends, starting at 11 a.m. To make a reservation call (215) 763-2500.

JUMPphilly.com

Food That Rocks

Fueling Up It used to be a Spaghetti Warehouse and, long before that, a farmer's market. But if you're going to Union Transfer now and you want food beyond snacks, you'll need to go elsewhere. Here are a few of our faves near Philly's hot new venue.

Prohibition Taproom The neon glow of the sign reading “BAR” hanging over the door of this Loft District joint draws you into the cozy, casual pub.

Open from noon to 2 a.m. daily, they feature gastro-pub fare and craft beers. Happy hour runs from 5 to 7 p.m. on weekdays, making it a great place to meet friends before a show.

501 N. 13th Street theprohibitiontaproom.com

The Institute This two-floor bar has 16 beers on tap and an eclectic menu with Asian, Mexican and other influences. The sambhar nachos, for instance, are made with lentil curry, black beancilantro relish, jicama slaw and mango-jalapeno coulis. They occasionally have bands or DJs entertaining upstairs.

549 N. 12th Street institutebar.com

Study Away CT

2005

DU BL IN(67) AIR PO RT

“

Located right across the street from Union Transfer, Llama Tooth is great place for pre-show drinks and food. They have an impressive drink menu, including their own “Llamarita,” and a long list of craft beers. The outdoor dining area next to the restaurant is perfect for hanging out in the spring weather.

1033 Spring Garden Street llamatooth.com

ER ION OFFIC IMMIGRAT 9 )

Jose's Mexican Food

(304

05 3 1 MAY 20 )

W (3 HEATHRO

Dream.

Discover.”

— Mark Twain

Program Destinations Dublin London – Optional credit-bearing internship component Los Angeles – Credit-bearing internship component New York City – Credit-bearing internship component

http://sct.temple.edu/studyaway

Jose’s is in a plain brick building at 10th and Buttonwood streets, making it easy to miss. But if you go, you’ll be happy you found it.

Some people argue it's the best Mexican food in the city. Their chorizo burrito is so good, it will bring tears to your eyes. The BYOB restaurant is tiny, unpretentious and inexpensive, and the staff are very friendly.

469 N. 10th Street (215) 765-2369

Teaful Bliss If you're looking for a more chill option, this is your spot. The 1-year old corner shop features a large selection of organic loose teas and gourmet coffees, as well as salads, sandwiches, muffins and other lite fare. Check out the selection of vegan sweets.

1043 Spring Garden Street (215) 232-2960

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Text by Brendan Menapace. Photos by G.W. Miller III.

IMM IGR ATIO (00 N OF 1) FIC 17 ER O

Llama Tooth

JUMPphilly.com

Thursday 4/05 Gentlemen Hall The Barbary $8-$10 All Ages

SEE THESE SHOWS Thanks to TheSwollenFox.com for listing info.

Check the site for the complete listings.

• MARCH • Friday 3/16 Bomb the Music Industry! / Classics of Love / Mike Park / Spraynard / Captain, We're Sinking First Unitarian Church $10 All Ages Saturday 3/17 Shorty Boy Boy / Mount Joy Johnny Brenda's $10 21+ Sunday 3/18 O.A.R. Theatre of the Living Arts $35.50 All Ages Tuesday 3/20 Sonni Shine & The Underwater Sounds Hard Rock Cafe $5 All Ages Wednesday 3/21 Kasabian Theatre of the Living Arts $18 All Ages Thursday 3/22 Boom Box / Greg D The Blockley $13-$15 21+

Monday 3/26 J*DaVeY / Boy Wonder World Cafe Live $10 All Ages Tuesday 3/27 Skream & Benga / Hijak / Plastician / Sgt. Pokes / Jackmaster Union Transfer $20 All Ages Tuesday 3/27 Slaughterhouse/ Crooked I/ Joe Budden/ Joeell Ortiz/ Royce Da 5'9' The Trocadero 18+ $26-$30 Thursday 3/29 El Malito / Arctic Splash / Johnny Showcase & The Lefty Lucy Cabaret Milkboy 21+ $8-$10 Thursday 3/29 The Joy Formidable / A Place to Bury Strangers / Exitmusic Union Transfer $16 All Ages Friday 3/30 Black Landlord Milkboy 21+ $10

Friday 3/23 Odd Future Electric Factory $30 All Ages

Friday 3/30 Blayer Pointdujour and The Rockers Galore / She Came Crashing / The Hi Five The M Room 21+ $8

Friday 3/23 Said the Whale The M Room 21+ $8

Friday 3/30 The English Beat World Cafe Live $22-$32 All Ages

Saturday 3/24 Ground Up/ Reef the Lost Cauze Theatre of the Living Arts $10 All Ages

Saturday 3/31 Gang / Sgt Sass / Violent Vickie Kung Fu Necktie 21+ $8

Saturday 3/24 Jeffrey Gaines Tin Angel 21+ $22 Saturday 3/24 Toots and the Maytals The Blockley 21+ $25-$35 Sunday 3/25 Dr. Dog Electric Factory $23 All Ages Sunday 3/25 Members Only / DRGN KING / Stinky Smelly / DARK The Fire $8 All Ages JUMPphilly.com

• APRIL • Monday 4/02 of Montreal / Lonely Dear / Kishi Bashi Union Transfer $20 All Ages Tuesday 4/03 Hunx & His Punx / Heavy Cream / Hound Kung Fu Necktie $10 All Ages Tuesday 4/03 Wynton Marsalis Verizon Hall (Kimmel Center) $25-$60 All Ages

Friday 4/06 Liberty Fest 2012 ft. Void Vision / M Ax Noi Mach / DJ Andrew Wolfgang Kuhl The Level Room 21+ $07 ($47 for 5-show pass) Saturday 4/07 Liberty Fest 2012 ft. Birds of Maya / Pop 128 / Easy Action / The Energy / Far-Out Fangtooth / Black Congress / Roomrunner / L.U.N.A.R. Revolt The Level Room 21+ $15 ($47 for 5-show pass) Saturday 4/07 Carleton Lewis III (celebrating 20 years of David April's gospel and R&B radio show) Johnny Brenda's 21+ $15 Sunday 4/08 Liberty Fest 2012 ft. Bardo Pond / Psychic Ills / Purling Hiss / The Night Beats / Creepoid, & more The Level Room 21+ $15 ($47 for 5-show pass) Monday 4/09 Mastodon / Opeth / Ghost Electric Factory $29.50 All Ages Tuesday 4/10 Cuddle Magic / Lake Street Dive Tin Angel 21+ $10 Thursday 4/12 Kaiser Chiefs Union Transfer $25 All Ages Saturday 4/14 Cheers Elephant / Conversations With Enemies Kung Fu Necktie $10 All Ages Sunday 4/15 Crystal Stilts / Poor Moon Johnny Brenda's 21+ $10-$12 Monday 4/16 !!! / Shabazz Palaces The Blockley 21+ $15-$17 Thursday 4/19 Bad Brains / GZA / Lionize The Trocadero $22.50-$24 All Ages

Friday 4/20 Philly Bloco World Cafe Live $14 All Ages Sunday 4/22 Lucero Union Transfer $20 All Ages Monday 4/23 The Drums Union Transfer $15 All Ages Friday 4/27 Good Old War Union Transfer $16-$18 All Ages Saturday 4/28 fun.

Theatre of the Living Arts $18 All Ages Saturday 4/28 The Motown Show presented by Smokey Robinson Tower Theatre $32.50 All Ages Saturday 4/28 Oh! Pears / Alex Winston / Octant Johnny Brenda's 21+ $10

• MAY • Wednesday 5/02 Acid Mothers Temple / Phantom Family Halo Johnny Brenda's 21+ $13 Saturday 5/05 The Cranberries Electric Factory $39.50 All Ages Saturday 5/05 We Were Promised Jetpacks Union Transfer $15 All Ages Tuesday 5/08 The Spinto Band Kung Fu Necktie 21+ $8 Friday 5/11 Goodnight Lights / Shorty Boy Boy Kung Fu Necktie 21+ $8 Friday 5/11 Red Hot Chili Peppers Wells Fargo Center $62.50 All Ages Sunday 5/13 Esperanza Spalding Electric Factory$30 All Ages

Thursday 4/19 The Wonder Years Theatre of the Living Arts $14 All Ages

Sunday 5/13 Incubus / Cake / Angels + Airwaves Festival Pier $59.50 All Ages

Friday 4/20 Bassnectar Liacouras Center $28-$45 All Ages

Sunday 5/13 Minas World Cafe Live $15 All Ages

Friday 4/20 John Wesley Harding Tin Angel 21+ $18

Tuesday 5/22 Maps & Atlases Union Transfer $15 All Ages

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Photo by G.W. Miller III.

Liner Notes

Soul Food, Cypher and a Mentor Philly artist Alexis "GoldenLover" Simmons writes about her experiences with mentor Jaguar Wright.

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t's the first night of a brand new monthly event called “Soul Food Cypher.” Deemed a combination of open house, social mixer, family reunion and musical cypher, this event brings together the best elements of musical events, in the home of Philly's own Jaguar Wright.

Artists are treated like family. Catfish nuggets and salad are served as appetizers, while pasta, collard greens, jasmine rice, turkey, lamb and other delectable dishes are being prepared for the main meal. Amidst the organized commotion in the kitchen, stands Ms. Jaguar. Not only does she help cook the food, she also initiates a cypher in the living room.

She encourages the MCs to do their thang as the DJ mixes it up with oldschool hip hop and Philly favorites.

In the center of the circle, Ms. Jaguar stands proud. She pulls me in and we freestyle over Sade’s track, “Soldier of Love.”

As she heads back to the kitchen to finish prepping dinner, I watch her in admiration, stunned in the realization that Ms. Jaguar Wright is my mentor.

I

t all began in February 2011. I was scheduled to open for Ms. Jaguar at the acclaimed venue S.O.B.'s in New York. As I prepared myself in the dressing room, I had a million thoughts in my mind: what would she be like? What songs did she have for her set? Did she give a damn about who I was or was I some random stranger just given an opportunity to be on the same stage as her?

I was pleasantly surprised when she came in.

Alexis Simmons Although a little harried from the train ride, she will perform at still managed to make me feel comfortable and less J.D. McGillicudy's nervous about the show. She welcomed me with (421 N. 7th Street) a warm hug and some vitamins, as I was feeling on March 30. under the weather that night. She also encouraged me by saying that I shouldn’t worry about the crowd, to just do what I do and the crowd will feel it.

“A lot of times,” she stated thoughtfully, “I will just close my eyes and feel the music. I don’t have to open my eyes to know that the crowd is following me. But don’t worry baby girl, you got it…”

Still, I thought that I would just warm up the stage for her arrival. After I performed however, I was shocked to hear my name being called while she was on stage. I mean, I’ve sung all over Philly, toured with a rock band and released an album but I couldn’t make the connection between my

46

experiences and this moment.

I must’ve done all right, because she announced to everyone, including me, that she was mentoring me!

S

ince then, I’ve sat down in her kitchen and discussed the ins and outs of the music business. I’ve learned about her start as a young woman performing alongside The Roots, Jill Scott and Bilal, as the Black Lily became a stepping stone for numerous Philly soul artists.

Ms. Jaguar has released two albums (her debut Denials, Delusions and Decisions and her sophomore effort, Divorcing Neo 2 Marry Soul), created numerous videos and toured the world as a member of the OkayPlayer collective. One of Ms. Jaguar’s most memorable performances was ripping up the stage as a featured vocalist on Jay-Z’s UnPlugged album.

She continues to pack venues whenever she performs.

But she’s quick to warn me of the negativity, confusion and downright shadiness that can surround an artist. There are haters and money issues constantly needing to be dealt with. So she advises me on the steps that I need to take as a burgeoning indie artist: finding the right venues that will hire me to perform, building a relationship with a worthwhile producer as a singer AND a songwriter, singing background for notable artists, and making sure that I stay on top of my business.

T

he other day, I was looking at a few YouTube videos of Ms. Jaguar and it all clicked. She is an absolute thrill to have as a mentor. There is a deeply felt resonance that I have with her voice, performance style and her connection to the music. She is able to improv or freestyle no matter where she is or what music is playing, because, as one admirer said, “She lives in the moment.”

It’s an intuitive syncopation of mind, heart, word, voice and rhythm.

When she is on stage, she will perform the song as you know it but she will also turn it on its head, remixing and rearranging it on the spot. Most importantly, she allows the music to breathe.

I love experimenting with my voice - freestyling with music and words.

Its exciting to me when musicians create on the spot and I’m persuaded to travel with their chord changes or drum patterns. It can be a risk at times, yet under Ms. Jaguar’s tutelage, I know I will learn to live in the moment.

Until that time comes, I patiently wait for the next gathering of artists, the banging soul food and the cypher.

JUMPphilly.com

ISSUE #5

SPRING 2012