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. Images by Colin Kerrigan.
Khari Mateen: The Collaborator.
Text by Morgan James. Images 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 and Jill Scott’s The Light of the Sun, and he has toured with 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 helped start the band Nouveau Riche with Nikki Jean, along with Dice Raw, Dominic Angelella and Joe Baldacci. After that genre-defying project folded, Mateen helped create the indie-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-you-out-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.”
The Boom Room: A Music Community Space.
Text by Chesney Davis. Images by Grace Dickinson.
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 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.
Strange Brew Coffee: A Community Shop That Couldn’t Survive.
Text and image by Yotam Dror.
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 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,” Dombroski says with a laugh.
He 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.”
Editor’s Note: Strange Brew recently closed for business. Bobby Dombroski, however, is still peddling coffee as a wholesaler.
American DanceWheels: Rockin’ Rollin’ Rumba.
Text by Lauren Gordon. Images by Ashley Hall.
Quick, 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 happens to be in a wheelchair, like my partner.
Pre-Show Fueling Up Near Union Transfer.
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.
501 N. 13th Street
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.
549 N. 12th Street (at right)
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 bean-cilantro relish, jicama slaw and mango-jalapeno coulis. They occasionally have bands or DJs entertaining upstairs.
1033 Spring Garden Street (below)
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.
469 N. 10th Street
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.
Also: Check out SAZON, Pennsylvania’s only Venezuelan restaurant, located at 10th and Spring Garden. Read our story about the chocolate haven here.
– Text by Brendan Menapace. Images by G.W. Miller III.
The Chocolate Lunatic and the Union Transfer Bump .
Text by Kim Maialetti. Images by Jessica Griffin.
Standing behind the chocolate counter at Sazon, Robert Campbell says, “I know I’m one of the best on planet Earth when it comes to my drinking chocolate. No one can touch it.”
It’s a bold statement but Campbell, 41, is prone to them.
“I know people think I’m a lunatic,” says the man who owns and operates the restaurant with his wife, Venezuela-native Judith Suzarra-Campbell. “It’s very rare you meet somebody as original as me.”
No argument there. Campbell is definitely an original and may very well be a lunatic, too. But it does take a bit of craziness to do what he’s done.
Text by Kevin Brosky. Images by Colin Kerrigan. Inside images shot on location at One Shot Coffee in Northern Liberties.
It’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 then-upcoming 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 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.
In 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.
“I have little doubt that we’ll be a full-time band this year,” Krzywicki says.
He’s got a convincing argument.
George Overton: A Judge 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. Image by G.W. Miller III.
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. 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.
The lineup for this year’s two-day Roots Picnic has been announced and it looks hot – De La Soul on stage with The Roots? Pure awesome.
There’s a lot of Philly talent in the lineup as well, including Diplo, DJ Diamond Kuts and Chill Moody.
Tickets go on sale Friday here.
JUMP: The Philly Music Project 