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Like Roy Ayers, George Benson, and Patrice Rushen, Norman Connors is best known for his major R&B hits but started out as a jazz improviser. The drummer/composer was born and raised in Philadelphia, where he lived in the same neighborhood as Bill Cosby and became interested in jazz when he was only a child. As a kid in elementary school, Connors was exposed to jazz extensively thanks to such schoolmates as drummer Lex Humphries and the younger brother of bassist and Jazz Messenger-to-be Spanky De Brest. Connors was in junior high when he began sneaking into jazz clubs and sat in for Elvin Jones at a John Coltrane gig. At 13, he first got to meet his idol, Miles Davis, and started expressing his admiration for the famous trumpeter by dressing like him. Connors went on to study music at Phillyâ€™s Temple University and the Juilliard School of Music in New York. Gigs with Jackie McLean, Jack McDuff, and Sam Rivers followed, and he was first recorded as a sideman when Archie Shepp employed him on his 1967 Impulse! session Magic of Ju-Ju.
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A NEW PHILADELPHIA MAGAZINE “This magazine is dedicated toward supporting live entertainment in Arizona” - Doc Jones Publisher -
Jeff Bradshaw Jazz Pioneer
JAZZ MASTER JIMMY HEATH
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Publisher / CEO William “Doc” Jones Senior Writer / Chief Editor Wayne Gaskins Ray Collazo as Media Liason Associate Writer/ Editor Belinda Foster Senior Design Layout Wm. Doc. Jones Associate Editor / Ass. Layout design Patrick Gilder Chief Photo Editor Jerry Maroney John McClary as Philadelphia Area Manager
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A tribute to John Coltrane
“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
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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 record10 stylus magazine
ing 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 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, Raheem 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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M Campbell Dominic Amato Kerry
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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 JayZ. 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 MeyersJohnson the dream project he is committed to making a reality.
Interview recorded on April 5, 2015 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?
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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.
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 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. stylus magazine 15
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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.
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 16 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.
Gretchen Parlato and Kalil Wilson.  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. 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. 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)
As of 1996, Burrell has served as Director of Jazz Studies at UCLA, mentoring such notable alumni as
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Read more www.visitp com/articl philadelph
Cheesesteak History The cheesesteak made its official debut in 1930. Pat Olivieri was a South Philadelphia hot dog vendor who one day decided to put some beef from the butcher on his grill. A taxicab driver noticed the alluring aroma and asked for his own steak sandwich. The next day, as the story goes, rumor of the delicious lunch had spread, and cabbies around the city came to Olivieri demanding steak sandwiches. Soon after, Olivieri opened up a shop on 9th Street and Passyunk Avenue, Patâ€™s King of Steaks, to sell his new creation. Eventually, according to legend, he added cheese to the recipe.
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Authentic Philly Cheesesteaks
Authentic Philly Cheesesteaks
Read more: http://www.visitphilly.com/articles/philadelphia/top10-spots-for-authentic-philly-cheesesteaks/ Follow us: http://facebook.com/visitphilly | http://twitter.com/visit-
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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.
Music Can Change a Troubled Kid’s Life. Here’s the Proof Can music really play a part in reducing knife crime, drug addiction and all the rest of society’s ills, asks Doc Jones? Yes, it can, and politicians are finally waking up to the fact.More than a two decade ago, Doc Jones was in downtown Phoenix when he saw a group of swaggering gang members with Red bandana give money to a little boy playing Brahms on his violin. “Those gang members were teaching me that they would rather be doing what the child was doing than what they were doing, but they never had the chance,” Doc told a reporter from Channel 12. So in 2001, Doc Jones and one of his mentors Don Fenstermaker CEO of NextStudent.com established NextStudent Academy of The Arts Project, a non-profit providing low-income Phoenix youths with instruments and at least five hours of instruction per week. The program “With Music On Their Mind There’s No Time For Crime” now have help more than 2,000 students with stunning results. Our Early Childhood Music Program consists of an age-appropriate, multi–year educational Wee Jazz program for children ages 1 1/2 to 3 years, an Early Violin Program for ages 4-7 years, and an Early Piano Program for ages 6-7 years. Our goals are to help young children develop a love of music and learn how to express it. Close interaction between teacher and student nurtures creativity and individuality while fostering self-expression, self-confidence, and imagination. Activities include singing, music and movement, violin, and piano.
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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.
“CONGRATULATION MAYOR NUTTER ON YOUR ACCOMPLISHMENTS,MAKING PHILADELPHIA A BETTER PLACE TO LIVE AND DO BUSINESS” EVENT SPECIALTY PARTNER(ESP) & INNER CIRCLE GMC
THIS VIOLENCE IN OUR CITIES MUST BE STOP NOW ! I WILL KEEP FIGHTING TO REDUCE CRIME ACROSS THE COUNTRY LONG AFTER I’M OUT OF OFFICE
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 32 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.
month, local organizations including the Kimmel Center, JazzBridge, and the Philadelphia Jazz Project will 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)
For the rest of the
504Multimedia Founder & CEO Dr William Jones
Phoenix Mayor Greg Stanton & 215 Publisher Wayne Gaskins
Mayors Nutter and Landrieu: Black Males Are an
Young, Black men are dying in America. Has the nation even noticed or has it bought into the notion that their lives are less valuable than others’? Those are two of many candid and difficult questions asked by Mayor Michael Nutter (Philadelphia) and Mayor Mitch Landrieu (New Orleans) during a joint appearance at the National Press Club to discuss urban violence. In 2012, 193 people were murdered in New Orleans and 331 in Philadelphia. In many cases, Nutter and Landrieu noted, young African-American males were the victims and the perpetrators
“I have been shocked and saddened by the violent and truly senseless crimes that have taken place in our cities. We must join together now”.
504 & 215 Magazines Stands With Mayor Nutter and Mayor Landrieu to reduce Crime in their Cities “With Music On Their Mind There’s No Time For Crime”
DR. William Jones CEO of 504 MultiMedia & Mayor Landrieu
Banquet Facility - The #1 Philadelphia Venue
Welcome to the beautiful Temptationâ€™s Banquet Facility, home of the finest Banquet and Wedding venues serving the Tri-State area! We are located in the heart of historic Germantown. In easy driving distance from the Philadelphia International Airport we are also easily accessible by car, public transportation, or Regional Rail Line (R7) via major routes: Lincoln Drive, Schuylkill Expressway, and City Avenue. Let our Banquet Facility be the place for your next social affair, and make memories that will last a life time. For more information on renting our facility or to check available dates, please contact Kathleen Williams @ 609.254.1188 or Vicky Poles @ 215.815.4194 or contact us here.
The Comcast Center
Philadelphia’s tallest building is also one of the country’s greenest
Standing at a robust 975 feet tall, the newly opened Comcast Center is the tallest building in Philadelphia. And with its ambitious incorporation of eco-friendly technologies, the Center is also the tallest “green” building in the country. The Comcast Center is definitely anything but your run-of-the-mill office building. There are numerous reasons for you to stop by and check it out. The building features a public plaza with a gorgeous fountain display, a dramatic eight-story “Winter Garden” and an energy-saving “glass curtain” that wraps around the Comcast Center, allowing for a 360° view of Philadelphia’s urban landscape.
At Wells Fargo, we embrace our responsibility to be a leading corporate citizen and the opportunity to create more resilient, sustainable communities through our operations and actions. We look for diverse perspectives to inform our business strategy, strive to strengthen financial knowledge and opportunities for our customers and communities, and are proactive in caring for and improving the environment.
Where We Give We actively support the revitalization and growth of the economy through community donations to nonprofits and schools, team mem ber philanthropy and volunteerism, community development loans and investments, enviromental initiatives, and other corporate citizenship initiatives.
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 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.
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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
According to Kia Motors, the name “Kia” derives from the Sino-Korean words ki (“to come out”) and a (which stands for Asia), it is roughly translated as “arise or come up out of Asia” or “rising out of Asia”.
in South Korea and for export into other countries. These models included the Kia Pride, based on the Mazda 121, and the Avella, which were sold in North America and Australasia as the Ford Festiva and Ford Aspire.
South Korea’s oldest car company, Kia was founded on December 11, 1944 (when Korea was part of Japan) as a manufacturer of steel tubing and bicycle parts by hand – and has operated as one of the country’s Chaebols since then. In 1951, Kia began building complete bicycles. In 1952, Kia changed its name from Kyungsung Precision Industry, and later built Honda-licensed small motorcycles (starting in 1957), Mazda-licensed trucks (1962) and cars (1974). The company opened its first integrated automotive assembly plant in 1973, the Sohari Plant. Kia built the small Brisa range of cars until 1981, when production came to an end after the new military dictator Chun Doo-hwan enforced industry consolidation. This forced Kia to give up passenger cars and focus entirely on light trucks. Prior to the forced 1981 shutdown, Kia rounded out its passenger car lineup with two other foreign models assembled under license: the Fiat 132 and the Peugeot 604.
In 1992, Kia Motors America was incorporated in the United States. The first Kia-branded vehicles in the United States were sold from four dealerships in Portland, Oregon in February 1994.  Since then, Kia methodically expanded one region at a time. Dealers in 1994 sold the Sephia; and a few years later, the United States segment expanded their line with the addition of the Sportage. Over one hundred Kia dealerships existed across thirty states by 1995, selling a record 24,740 automobiles.
Starting in 1986 (when only 26 cars were manufactured, followed by over 95,000 the next year), Kia rejoined the automobile industry in partnership with Ford. Kia produced several Mazda-derived vehicles for both domestic sales
Comcast Center (Philadelphia)
The 58-story, 297-meter (974 ft) tower is the tallest building in Philadelphia and the nineteenth tallest building in the United States. Originally called One Pennsylvania Plaza when the building was first announced in 2001, the Comcast Center went through two redesigns before construction began in 2005. Comcast Center was designed by architect Robert
Welcome to New Orleans 504mag.com 44 stylus magazine
215mag Philly's Hottest New Jazz Magazine 504 Multimedia & ESP Is Making A Difference In The Growth Of The New Philadelphia. Join Us Be A Sp...
Published on Nov 19, 2015
215mag Philly's Hottest New Jazz Magazine 504 Multimedia & ESP Is Making A Difference In The Growth Of The New Philadelphia. Join Us Be A Sp...