215mag Philly's Hottest New Jazz Magazine

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CONTENTS

A NEW PHILADELPHIA MAGAZINE “This magazine is dedicated toward supporting live entertainment in Arizona” - Doc Jones Publisher -

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215mag

Jeff Bradshaw Jazz Pioneer

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Jeff Bradshaw

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JAZZ MASTER JIMMY HEATH

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16 Philly Cheese Steaek

For customer service, change of address, and subscription inquiries, please visit www.504mag.com

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THE CLEF CLUB

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ROY AYERS

24 Michael Nutter

Nayo Jones

Wayne & Kerwin

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Mr. Mayor 24

ALL CONTENT AND PHOTOGRAPHIC MATERIALS ARE COPYRIGHTED TO THEIR RESPECTED OWNERS. TO CONTACT OUR EDITORIAL TEAM PLEASE EMAIL US AT PUBLISH@504MAG.COM

Roy Ayers

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Continued... Page 6

Publisher / CEO William “Doc” Jones Senior Writer / Chief Editor Wayne Gaskin Mimi Thomas (who works for Kenny Gamble) as Media Liason Associate Writer/ Editor Belinda Foster Senior Design Layout Wm. Doc. Jones Associate Editor / Ass. Layout design Patrick Gilder Chief Photo Editor Doc Jones John McClary as Philadelphia Area Manager

photo by Vincent J. Ricardel

©504 Multi MEDIA LLC. All Rights Reserved

A tribute to John Coltrane

Jimmy

Jimmy Heath

“Welcome to 215 jazz Magazine.

As Publisher & CEO, I would like to pay tribute to the history of the Jazz greats of Philly and those musicians that have dedicated their lives to mastering their instruments. I’m blessed to have the support and respect of one the greatest Jazz Trombone Player of all times.

Mr. Jeff Bradshaw” .

Publisher/CEO Wayne Gaskins & President Black Chamber Kerwin Brown

Once you meet him, you’ll remember him. Wyane Gaskins(lovingly referred to as Plain Wayne) is Chief Editor of the pulse of Philly, 215Jazz Mag.com. Wayne brings a high level energy, excitement and hands on involvement to anything he believes in. Wayne’s motto, love of people, and talents continues to be, “if you believe in it, you should be a contributing factor in it.”

Philly Joe one of the greatest Drummers ever “Keep up the good work, Doc Jones and 215 Jazz Mazine .”

The creater of the Philly sound Gamble & Huff

TheArticle Sermon with photo

Music City Philadelphia: Jeff Bradshaw Jeff Bradshaw’s story began at a dusty floored church in North Philly, where brass bands are the main attraction. He was born and raised in church and that is where he had his first musical experience. The first instrument he began playing was the snare drum. Following that Mr. Bradshaw began playing the baritone horn and sousaphone. He recalls one very powerful day in high school when everyone was asked to stand in front of the instrument they would like to play. Of course, there was a crowd surrounding the drums, guitars, saxophones, trumpets, percussion, and woodwinds, but not one person was standing near the stack of trombones in the corner. Mr. Bradshaw believes that was the day the trombone was to begin its trek to becoming the coolest instrument in mainstream music, not just jazz. Mr. Bradshaw was determined to make the trombone hip, and not just an instrument for nerds in the high school band.

As he transitioned into adulthood, Mr. Bradshaw began altering the plans for his future, realizing he wouldn’t be afforded the opportunity for college. The finances weren’t there for him to continue his education, so he bounced from job to job trying to buy time, until his (right time, right place) moment came. Unfortunately that moment wouldn’t come for another seven years.

In 1994 Mr. Bradshaw began to meet the who’s-who of what is now the hierarchy of the Philly music community. People like James Poyser, Andre Harris, Vidal Davis, DJ Jazzy Jeff, Ahmir ”Quesluv” Thompson, Tarik “Black Thought” Trotter of the Legendary Roots Crew, DJ King Britt, Keith Pelzer, Darren Henson, Ivan Barrius, Carvin Higgins, and many others. It was because of these people that Mr. Bradshaw arrived into the real world of major recording, with artists like Eryka Badu, Jill Scott, Floetry, Darius Rucker, Musiq, The Roots, Earth Wind & Fire, and Michael Jackson, just to name a few.

It wasn’t until one night at a popular live music spot in downtown Philly called Wilamina’s, that he got his chance to step to the front of a very popular band that he played “side man” in.

The leader of the band was Mr. Bradshaw’s dear friend, trumpet master, Jafar Barron. This particular evening Mr. Barron was having personal difficulties and the band would not have had a leader for the rest of the night. So Mr. Bradshaw stepped up to the front with a trombone and began to lead this hip hop soul band as if he had been waiting for that opportunity all his life.

A few years after that experience, the beautiful Jill Scott had begun to record her first album and Mr. Bradshaw was invited to become a part of that. He enjoyed every bit of recording on that record, and before he knew it, they were on the road showing the world who Jill Scott was. It wasn’t until the launch party of Hidden Beach Recordings (which was full of celebrities like Bill 8 stylus magazine

Duke, Carl Payne, Lenox Lewis, and many others) where Mr. Bradshaw met the man who would forever change his life, Steve McKeever (the CEO of Hidden Beach Recordings). He was a bright smiling music lover of epic proportion, but it wouldn’t be until 2002 when Mr. Bradshaw took advantage of a break taken

by Ms. Scott.

Mr. Bradshaw had begun to record some original material with a producer that he’d met at Wilamina’s, named Will Brock (Can You Come Over, Little One). This marked the beginning of a nine-song demo CD that landed Mr. Bradshaw his record deal with Hidden Beach Recordings. Mr. Bradshaw explained to Mr. McKeever that they could change what people thought should be a lead instrument in mainstream music.

PHILADELPHIA (CBS) — North Philadelphia native Jeff Bradshaw is leading the pack of the “New Jazz” movement with a fusion of R&B, soul, gospel, jazz, and hip hop on his new CD Bone Appétit.

Also known as “Mr. Trombone” Jeff Bradshaw plays the instruments, sings, and writes the songs on his sophomore album out now. Bone Appétit, a two volume collection of 20 songs features a diverse group of musicians like Marsha Ambrosious, Ra-

.

heem DeVaughn, Kindred the Family Soul, TWyze, and Maysa Leak Bradshaw grew up “in the church” and was surrounded by music his whole life, following in the footsteps of hisfather who was also a trombonist and singer. He describes his sound as lyrical because he is a self-taught musician who learned to play old Negro spirituals in church. Songs like “Sit Down Servant” and “Peace Be

”

Still.

“The words are so incredibly important,” he says.

It has been eight years since the release of his debut album, Bone Deep. Since then Bradshaw has loved and lost, married and divorced, had a baby, and rededicated his life to Christ. He describes Bone Appétit as “the menu all can order from.”

Click Below To Listen To The Jeff Bradshaw Interview Bradshaw is a veteran in the world of music having recorded and performed with artists like the late Michael Jackson, The Roots, Jay Z, Jill Scott, John Legend, and Earth, Wind, and Fire –to name a few. He also played a role in the Philly neo-soul movement.

In January of 2012, the Recording Academy presented Bradshaw with eight Grammy certificates for his work on nominated songs.

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Calvin Johnson

M Campbell Dominic Amato Kerry

Bone Appetit

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This Gifted Trombonist, is a well-known Fixture On The Music Scene

By: Shirley Jones Jeff Bradshaw is a burst of energy that can’t be contained. One quickly realizes this when engaging him in conversation. It becomes clear that his presence is best enjoyed when one surrenders to that energy, becoming a part of it. This is also an ideal way to experience his music.

In a spirited conversation, Jeff Bradshaw speaks about his many years on the road and in the studio, playing trombone for dirverse acts like Jill Scott, The Roots, Kirk Franklin, and Jay-Z. He recalls how his recently deceased father was his greatest musical inspiration, and he shares details about the five-year process of recording his new album, BONE APPETIT. And for the first time, publicly, he reveals to Darnell Meyers-Johnson the dream project he is committed to making a reality.

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Interview recorded on April 5, 2012 Darnell: Good day. This is Darnel Meyers-Johnson for SoulMusic.com. Today I’m speaking with the man they call Mr. Trombone. For the past 15 years or so, he’s either toured or recorded with the likes of Jill Scott, The Roots, Mary J. Blige, and Musiq Soulchild, just to name a couple of people.

He’s about to drop his second album, BONE APPETIT, later on this month.

Today I’m speaking with Mr. Jeff Bradshaw. How are you, sir?

Jeff: How are you doing, man? Thanks for having me. I’m glad to be here.

Darnell: I’m great, man, and I just want to say that we thank you for taking time out to speak with us today.

Jeff: Thank you. I appreciate it.

Darnell: Let’s start here with the nickname, Mr. Trombone. Where did that come from?

HOME will be Bradshaw’s first LIVE album and is anticipated to garner his first Grammy Award win. Join us for this once-ina-lifetime evening of R&B, soul, and jazz.

Jeff: 2001, on tour with Jill Scott. Jill--she just came up with the name while we were on stage, when she was introducing me, because of, kind of like, my dressing style, and at the time, we weren’t doing uniforms. She just kind of wanted everybody to do them a little, but stay within a color scheme, and I’ve always been kind of a snazzy kind of dresser. She always kind of always gave me the grown man thing. I used to always try to really look nice on stage, and go the extra mile to keep it classy. I don’t know if that’s specifically where she got the name from, but she definitely started calling me Mr. Trombone right around that time, and around that tour.

Darnell: Okay, so now we know who to blame for it. I know you’re from Philly. I’m actually not that far away from you. I’m in Trenton, New Jersey. Tell me how you got your start in the music business.

Jeff: I’ll give you the short version. In Philadelphia, there’s a rich history of great music from jazz to R&B, to hip-hop, and Gospel coming out of Philadelphia. I just happened to be coming out of church; I started playing in church, in Gospel brass bands in church, and I started hanging out with producer friends of mine, Andre Harris, Vidal Davis, Ivan Barias, Darren Henson, Keith Pelzer, Carvin Higgins, which were the producers who started with A Touch of Jazz, which is Jazzy Jeff ’s production company in Philadelphia.

I began to hang out with those guys--some of them I knew from church-earlier when we were younger. I hung out with those guys, James Poyser, Questlove from the Roots, and, basically, what you would think now as the hierarchy of the Philadelphia music industry, as far as notable producers and writers--those are my guys, those are my friends.

So I would be in the studio with them, at the very beginning of their careers, and hanging out at places like Silk City, Willamina’s, The Black Lilly, which were these great live organic music venues where all the producers, artists, writers, poets--where they all hung out before they got record deals-- where Jill was … where Musiq hung out and Jaguar Wright, and so many other notable Philadelphia artists that came through there—through Philadelphia and New York.

deals; I was a part of all of those records. I was a part of those Jill Scott records, those Musiq Soulchild records, those Floetry records, those early Roots records. So I was a part of the Philly music scene on the live side, in the clubs, and the open mics, and the poetry settings.

But I was also a part of the recording aspect on the studio side, as well. My first professional recording was “Other Side of the Game” with Erykah Badu. Questlove and James Poyser of the Roots, together, produced that song and most of that album, and that was the first major call that I got to record in the studio in 1995, “Other Side of the Game” with Erykah. That’s when I met Erykah Badu and, you know, the rest is history.

arnell: I’m glad that you’re talking about this, because I have it in my notes that I was going to ask you about what the vibe was like in Philly, because you seem to have come up in what I call the new era of the Philly Sound in the 2000s and around that time period. So I’m glad that you spoke a little bit about what the vibe was like, just to give us an idea, for those who weren’t on the inside like you were.

jeff: Yes, I tried to give you the short version, because there’s so many intangibles and so many things that come together for me to kind of be in the right place at the right time, but having those relationships as Philly grew, and as it all grew, then I grew with it.

Darnell: When people are so closely connected to a particular instrument the way that you are with the trombone, I’m curious about how they became interested in that particular instrument. I happen to know that you play a lot of different things, but what was it about the trombone that really caught your attention more than anything else?

Jeff: Well, like I said, I was born and raised in a church where Gospel brass bands were on the forefront. So I was raised around a lot of brass instruments--just growing up. My father, who I just lost a few months ago, was a great trombone player in church, and I felt like being surrounded by that instrument--being young in school.

always tell the story: in music class, in middle school, the first day of music class the teacher told everybody to stand by the instrument that they wanted to play. So there was a crowd of guys around the drums, crowd of guys around the guitar, crowd of guys around the bass, crowd of guys around the piano, crowd of guys around the sax, the trumpet, but the trombones was in the corner by themselves.

I felt like I had an incredibly cool, sharp father who could really, really sing, and who could really, really play the trombone, as well as guitar, and I felt like, you know, I’m going to be the new generation of musicians that makes the trombone, who more people don’t consider to be a really cool, sexy instrument, a really hip instrument. But if you don’t know your history, if you don’t know that Fred Wesley from the JBs--most of his horn lines in James Brown’s music shaped hip hop culture.

But I think it was really about just having the right relationships with the right producers, and having the right stuff at the right time when some of these earlier demo recordings were being made for people who didn’t have record stylus magazine 13

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AND HIS BROTHERS Jimmy Heath has long been recognized as a brilliant instrumentalist and a magnificent composer and arranger. Jimmy is the middle brother of the legendary Heath Brothers (Percy Heath/bass and Tootie Heath/ drums), and is the father of Mtume. He has performed with nearly all the jazz greats of the last 50 years, from Howard McGhee, Dizzy Gillespie, and Miles Davis to Wynton Marsalis. In 1948 at the age of 21, he performed in the First International Jazz Festival in Paris with McGhee, sharing the stage with Coleman Hawkins, Slam Stewart, and Erroll Garner. One of Heath’s earliest big bands (1947-1948) in Philadelphia included John Coltrane, Benny Golson, Specs Wright, Cal Massey, Johnny Coles, Ray Bryant, and Nelson Boyd. Charlie Parker and Max Roach sat in on one occasion.

“My pick from the world’s talent would be Diz as leader, John Lewis or Hank Jones on piano, Ray Brown bass, Milt Jackson vibes, Jimmy Heath tenor, and Sonny Stitt alto.” — Kenny Clarke

During his career, Jimmy Heath has performed on more than 100 record albums including seven with The Heath Brothers and twelve as a leader.

Jimmy has also written more than 125 compositions, many of which have become jazz standards and have been recorded by other artists including Art Farmer, Cannonball Adderley, Clark Terry, Chet Baker, Miles Davis, James Moody, Milt Jackson, Ahmad Jamal, Ray Charles, Dizzy Gillespie J.J Johnson and Dexter Gordon. Jimmy has also composed extended works - seven suites and two string quartets - and he premiered his first symphonic work, “Three Ears,” in 1988 at Queens College (CUNY) with Maurice Peress conducting.

Grammy Nominations

After having just concluded eleven years as Professor of Music at the Aaron Copland School of Music at Queens College, Heath maintains an extensive performance schedule and continues to conduct workshops and clinics throughout the United States, Europe, and Canada. He has also taught jazz studies at Jazzmobile, Housatonic College, City College of New York, and The New School for Social Research. In October 1997, two of his former students, trumpeters Darren Barrett and Diego Urcola, placed first and second in the Thelonious Monk Competition.

Heath’s enduring dedication to jazz as well as his musicianship prompted the following tributes: “All I can say is, if you know Jimmy Heath, you know Bop.” — Dizzy Gillespie “Trane was always high on Jimmy’s playing and so was I. Plus, he was a very hip dude to be with, funny and clean and very intelligent. Jimmy is one of the thoroughbreds.” — Miles Davis 14 stylus magazine

“I had met Jimmy Heath, who - besides being a wonderful saxophonist - understood a lot about musical construction. I joined his group in Philadelphia in 1948. We were very much alike in our feeling, phrasing and a whole lot of other ways. Our musical appetites were the same. We used to practice together, and he would write out some of the things we were interested in. We would take things from records and digest them.

In this way, we learned about the techniques being used by writers and arrangers.” — John Coltrane, Downbeat, 1960

Received Grammy nomination for box set liner notes of The Heavyweight Champion, John Coltrane, the Complete Atlantic Recordings (Rhino), 1995 Received Grammy nomination for Little Man Big Band (Verve), produced by Bill Cosby, 1994 Received Grammy nomination for Live at the Public Theatre (Columbia), with The Heath Brothers, 1980 “

Burrell was born in Detroit,

Michigan, to a musical family and began playing guitar at the age of 12. Guitarists who influenced him include Charlie Christian, Django Reinhardt, and Wes Montgomery.

While a student at Wayne State University, he made his recording debut as a member of Dizzy Gillespie’s sextet in 1951, following which he recorded the “Ground Round” single at Fortune Records in Detroit. He toured with Oscar Peterson after graduating in 1955 and then moved to New York City in 1956.[1]

Gretchen Parlato and Kalil Wilson.

[5] Burrell teaches a course entitled “Ellingtonia”, examining the life and accomplishments of Duke Ellington.

A consummate sideman, Burrell has recorded with a wide range of prominent musicians. He has also led his own groups since 1951 and recorded many well-received albums.[1] In the 1970s he began leading seminars about music, particularly Duke Ellington’s. Although the two never collaborated directly, Ellington called Burrell his “favorite guitarist,” and Burrell has recorded a number of tributes to and interpretations of Ellington’s works.[4] A highly popular performer, Burrell has won several jazz polls in Japan and the United Kingdom as well as in the United States. He has recorded about 106 albums, including Midnight Blue (1963), Blue Lights, Guitar Forms, Sunup To Sundown (1990), Soft Winds (1993), Then Along Came Kenny (1993), and Lotus Blossom (1995).

(Credit: William Claxton)

Jimmy Heath

As of 1996, Burrell has served as Director of Jazz Studies at UCLA, mentoring such notable alumni as

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Philly cheese steak

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A cheesesteak, also known as a Philadelphia cheesesteak, Philly cheesesteak, cheesesteak sandwich, cheese steak, or steak and cheese, is a sandwich made from thinly-sliced pieces of steak and melted cheese in a long roll

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The Philadelphia Clef Club of Jazz and Performing Arts, INC. (PCC) is an American trade union.

It was founded in 1966 by members of Musicians’ Protective Union Local #274, American Federation of Musicians (A F of M). Local #274 was chartered in 1935 as a separate Black local because Black musicians were denied membership in the racially segregated Local #77. Local #274 enjoyed its autonomy for more than 36 years.

It was the longest surviving independent Black Musicians’ Union in the United States, of the more than fifty chartered in major cities. Local #274 and PCC’s social unit are integral parts of the history of JAZZ in Philadelphia. They evolved out of the struggle of Black musicians for political, economic, and cultural recognition during Philadelphia’s overt segregation period. Local #274’s membership rolls included JAZZ greats like John Coltrane, Dizzy Gillespie, Shirley Scott, Lee Morgan, “Philly” Joe Jones, Grover Washington, Jr., the Heath Brothers, and Nina Simone to name a few.

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The word, Jazz, was added to the name of PCC in 1994. The Philadelphia Clef Club of Jazz & Performing Arts, Inc. made history when it opened the doors of its new facility in October 1995. The facility was the first ever designed and constructed specifically to be a Jazz institution.

The concept of a Jazz Art Institution is a new one, because Jazz has been traditionally presented and developed in the commercial sector through bars, clubs, concert halls, and the recording industry.

It is Philadelphia’s only major music institution solely devoted to this great American Art form.

The Clef Club’s vision is to have the broad community embrace, and support JAZZ as a great American Art Form, understand its roots in the African American experience, and recognize Jazz as central to our national cultural heritage, and worthy of public and Institutional support.

The mission of the Philadelphia Clef Club of Jazz & Performing Arts, Inc. is to further the level of art and culture in the community. We wish to accomplish this goal through promoting the development of talent and providing opportunities for the growth of the performing artist specifically, with a special emphasis in instrumentalists.

We seek to serve the artist and the community through providing a forum for the listening and appreciation of the great American Art Form of Jazz and related disciplines.

We also wish to promote the academic exchange of information related to Jazz through educational programs. Finally, The Clef Club will be a depository to collect and preserve the history of Jazz music for further research and interpretation by scholars, educators, artists, and the general public.

The goals of the Philadelphia

Clef Club of Jazz & Performing Arts. Inc. include: The continuation of the Clef Club Big Band, the Clef Club Youth Ensemble, Jazz in The Sanctuary Concerts, Jazz Master Workshops, Youth Summer Jazz Camps, Student Ensemble Education Programs, and The Preservation Jazz Series. In the near future, the implementation of senior citizen outreach programs consisting of instrumental instruction (individual and group), a senior citizen orchestra, line-dancing and ball-room dancing instruction, and vocal activities (individual and group). And also the association of the Clef Club of Jazz & Performing Arts, Inc. with all types of community groups including other JAZZ organizations, churches, schools, and community centers in the Greater Philadelphia/ Delaware Valley area.

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4th ANNUAL JAZZ AWARDS & 20TH ANNIVERSARY CELEBRATION The festivities kicks-off on Friday, November 6th at 6pm with a VIP Blue Carpet reception and progressive level dinner, followed by a special performance with Jazz Violinist Extraordinaire, Ms. Diane Monroe. Monroe, who began her solo career with the Max Roach Double quartet and the Uptown String Quartet, will perform with her own quartet. The evening highlight will pay tribute and honor several highly acclaimed Individuals in the following categories: Distinguished Awards: the Honorable Edward Rendell, and Ms. Barbara Daniel Cox; the Living Legends Awards will be presented to Mr. Benny Golson, and Mr. Cullen Knight. A special 20th Anniversary Award will recognize Mr. William “Mr. C” Carney; and a first time ever recognition will be presented to Mr. Tony Williams for the Jazz Educator’s Award.

Philadelphia Clef Club of Jazz and Performing Arts 736-38 South Broad Street Philadelphia PA 19146

Roy Ayers (born September 10, 1940) is an American funk, soul, and jazz composer and vibraphone player. Ayers began his career as a post-bop jazz artist, releasing several albums with Atlantic Records, before his tenure at Polydor Records beginning in the 1970s, during which he helped pioneer jazz-funk.

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Mayor calls on startups to fight crime in Philly BY:Laura Baverman Philadelphia’s mayor sees the value of startups in helping solve dire city problems and he’s rallied some of the city’s best resources around him to help find and support startups that are willing to help.

W ith one of the highest violent crime rates among the largest U.S. cities, Philadelphia has some serious challenges.

But one of its biggest opportunities is a mayor who thinks differently about solving the problems and a cluster of startup companies eager to help.

Kicking off tomorrow is the manifestation of that, a new accelerator program called FastFWD, focused on solving serious social and governmental issues like public safety and educational attainment. The city’s government and startup leaders hope to attract forward-thinking entrepreneurs from around the world with a passion for making cities safer and a business plan to make that passion a reality. The best ideas will be implemented within Philly city government, and then be taken to other cities around the nation.

If it all sounds familiar, you might have read Upstart’s recent story about a similar effort happening within the city of San Francisco this winter.

FastFWD was the result of 100-plus ideas thrown around about a year and a half ago when Philadelphia Mayor Michael Nutter was brainstorming his entry to the Bloomberg Philanthropies Mayors Challenge.

(See his entry video below.) With the help of advisers like Story Bellows, co-director of the Mayor’s Office of New Urban Mechanics, he decided he couldn’t solve the challenges of Philly with just one initiative. He wanted to throw his support behind something that could tackle many challenges over time.

He became one of five winning mayors when he revealed a partnership with the University of Pennsylvania’s Wharton Social Impact Initiative and the local social enterprise incubator GoodCompany Ventures in March. They’re now deploying the $1 million prize as they launch FastFWD, a 12-week intensive program to help entrepreneurs understand social problems and prove out business models targeted to them.

“The role we’re excited about is working with entrepreneurs to design 26 stylus magazine

business models that can scale against these problems, but doing it in connection with City Hall, which understands the problems and the citizens,” says Garrett Melby of GoodCompany, which has helped 45 social enterprises raise $41 million to address social issues since 2008.

Topics will vary from class to class, but the initial group of startups will be tackling public safety. Key topics the team hopes entrepreneurs will address are vacant land, a $22 million problem in Philadelphia (and a $6 billion problem nationwide) due to police and fire responses and lost tax revenue; recidivism (repeat criminals) and mental health.

The city of Philadelphia will work alongside the entrepreneurs, helping them understand the request for proposals process that’s typically required before any government contract is awarded. Each startup will receive a $10,000 stipend and access to $100,000 in pilot contracts at completion of the program.

The program isn’t meant to be a jobs creator for the city, though Bellows argues that Philadelphia is well located for startups eager to target Boston, New York City and Washington, D.C. The mayor and other city leaders simply hope to spur some innovative thought around its biggest challenges, and to engage the entire community around them.

“Philly has a strong entrepreneurial community and ecosystem here.

And there is a strong institutional set of resources here,” Bellows says.

“So while the problems are acute in certain areas, the resources are pretty unparalleled.” “

PHILADELPHIA CELEBRATES JAZZ APPRECIATION MONTH Mayor Michael A. Nutter proclaimed April 2014 Jazz Appreciation Month in the City of Philadelphia and launched the month-long celebration during a press conference at City Hall this morning. During the event, Philadelphia-born jazz legend and saxophonist Benny Golson was honored with a City proclamation and live performance by the Francois Zayas Trio.

collaborate to promote and support Philadelphia’s jazz tradition and assets with scores of performances across the city, workshops, events, and pop-up performances.

“Philadelphia is home to a rich jazz legacy and a dynamic music scene,” said Mayor Michael A. Nutter.

“This April, we observe National Jazz Appreciation month and celebrate Philadelphia’s past and continued contribution to American jazz history. What better time to get out, hear some great music and truly experience Philadelphia’s vibrant jazz performance scene?”

(Credit: William Claxton)

Jimmy Heath

For the rest of the month, local organizations including the Kimmel Center, JazzBridge, and the Philadelphia Jazz Project will

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LEXUS OF CHERRY HILL Welcome to Lexus of Cherry Hill, Mount Laurel, New Jersey Lexus of Cherry Hill has been a luxury vehicle Lexus dealer for the Philadelphia, PA area for over 25 years. Proudly serving New Jersey, Pennsylvania and Delaware.

Located in Mt. Laurel, Lexus of Cherry Hill maintains an extensive inventory of both new and certified pre-owned Lexus cars and SUVs for the Philadelphia, PA metropolitan area. Rest assured that our wide range of Lexus models includes a comprehensive stock of the popular Lexus LS, ES, GS, IS, and RX, all priced to make owning a Lexus a reality.

New Lexus Luxury Reward Program near Philadelphia PA Do you own an Audi, Infiniti, or Mercedes-Benz luxury vehicle?

What about a BMW, Jaguar, or Land Rover? These are just a few of the luxury makes for which our 28 stylus magazine

NJ dealership offers a huge reward. Buy or lease a new Lexus today! At Lexus of Cherry Hill, we believe that if you try one of our new Lexus vehicles, you will never go back. For current incentives, visit our specials page or contact us today. Lexus of Cherry Hill is your luxury car dealership in Mt. Laurel. We make financing easy for Lexus cars and SUVs near Philadelphia, PA! Pre-Owned Used Lexus Cars in Mt. Laurel NJ near Philadelphia Lexus of Cherry Hill is also a leader in pre-owned Lexus cars and certified pre-owned Lexus cars.

7:30 AM-8:00 PM Fri: 7:30 AM-6:00 PM Sat: 7:30 AM-5:00 PM

We’re sure you’ll be impressed with our huge inventory of luxury pre-owned cars in Mt. Laurel, New Jersey. Along with our extensive new Lexus inventory, we proudly rank as one of the top pre-owned Lexus dealerships in New Jersey as well as selling new and preowned Lexus cars to Philadelphia, PA Lexus customers. If you are looking for a pre-owned Lexus in Philadelphia then be sure to stop by our Mt. Laurel pre-owned car dealership today. Drive a certified pre-owned RX 350 SUV or GS 350 sedan home to your family of Lexus fans! Many customers have made us their dealership of choice for pre-owned cars in New Jersey. Join them by browsing online or just come down to Lexus of Cherry Hill from Philadelphia, PA and get into the next best thing to a new Lexus vehicle; we know you won’t be disappointed.

Lexus Service near Philadelphia, PA Lexus of Cherry Hill makes it easy to maintain your Lexus vehicle.

You will enjoy our modern state of the art Lexus service center and Lexus parts department in Mt. Lau-

rel where you will never need an appointment. Our location is particularly convenient for Philadelphia drivers, so be sure to check us out! In need of service on the weekends or a holiday? Our Lexus Service Department is open! With hours of operation 6 days a week you will have ease of mind that we do our best to accommodate your busy schedule. Service is open Mon-Thu:

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