Add to Calendar2017-09-04 11:00:002017-09-04 22:00:00(UTC-08:00) America/Loas_AngelesNightshift Labor Day Music Fest6th Annual Nightshift LA’s party for working peopleGrand Park Downtown LAWorking Californiansinfo@workingcalifornians.org
Brian D'Arcy - IBEW Local 18
Marvin Kropke - IBEW Local 11
Rusty Hicks - LA County Federation of Labor
Robbie Hunter - State Building & Construction Trades Council
Laphonza Butler - SEIU, Local 2015
Ron Herrera - Teamster Local 396
Mike Layton - UA Southern California Pipe Trades District Council 16
Frank Lima - United Firefighters of Los Angeles, Local 112
Jim Lindsay - ATU
Michael Miller - IATSE
Doug Moore - AFSCME-UDW
For questions, please call (323) 592-3444 or email at firstname.lastname@example.org
Register to win 2 free tickets
NIGHTSHIFT: 2017 LABOR DAY MUSIC FEST POLICIES
All Guests entering the venue for an event are subject to a physical and visual search. All bags will be searched. Tailgating or loitering in the adjacent parking lots is prohibited. Guests will not be allowed to linger in vehicles. Nightshift will sell food and beverages. Nightshift is a family friendly event, intoxicated patrons will be asked to leave the event. Abusive, foul or disruptive language and obscene gestures is prohibited. Fighting, taunting or threatening remarks or gestures will result in immediate ejection from the venue. Nightshift does not allow any unauthorized/unlicensed vendors, solicitations, handbills, sampling, or give-aways.
Small Bags, Single Compartment Purses (maximum 10” x 10”)
Non-Professional Flash/Still Cameras
NO Illegal Substances
NO Drugs or Drug Paraphernalia
NO Pets (excluding service animals)
NO Glass, Cans, Cups or Coolers
NO Markers, Pens or Spray Paint
NO Large Chains or Spiked Jewelry
NO Stickers, Flyers, Banners or Posters
NO Balloons, Balls, Inflatable Balls or Frisbees
NO Tents, Umbrellas, Chairs or Blankets
NO Large Backpacks
NO Camelpaks or Bota Bags
NO Large Purses or Bags (Anything Over 10” x 10”)
NO Weapons of any Kind (Includes Pocket Knives, Pepper Spray, Fireworks, etc.)
NO Video Cameras
NO Professional Recording Equipment – Photo, Video, or Audio (No Detachable Lenses, Tripods, Big Zooms or Commercial Use Rigs)
Described by Spin as “one of the greatest living voices in rock today,” and by SF Weekly as “the whole package”, Grace
Potter continues to impress both critics and audiences with her musical achievements and captivating live shows.
Heralded as one of today’s best live performers, Grace Potter has played every major music festival from Coachella and
Lollapalooza to Bonnaroo and Rock in Rio. She’s had the honor of sharing the stage with artists such as The Rolling
Stones, Willie Nelson, Robert Plant, the Allman Brothers, Neil Young, Mavis Staples, and The Roots to name just a
few. Most recently, she was given the honor of performing, along with Sheryl Crow, a tribute to the late Glenn Frey at the
Rock and Roll Hall of Fame induction ceremony. For an artist who has built a devoted fan base through her electrifying
live show, Potter seems hell-bent on breaking out of the box when it comes to studio work. She refuses to be defined by a
single genre. Over the last three years, she has seamlessly transitioned from collaborating with the Flaming Lips for a Tim
Burton film, to songwriting and producing for soundtracks and theme songs for film and TV, to multi-platinum, Grammynominated
country duets with her friend Kenny Chesney, to most recently joining The Rolling Stones on stage for an
inspired rendition of “Gimme Shelter.”
In late 2015, at the invitation of The First Lady, Michelle Obama, and TV host Conan O’Brien, Grace performed for the
troops in Qatar (where she was joined on stage by the guitar-playing O’Brien). In the fall of 2015, Grace was honored with
the Governor’s Award for Excellence in the Arts, her home state of Vermont’s highest honor in the creative sector. Earlier
in 2015 Potter received the ASCAP Harry Chapin Vanguard Award by WhyHunger honoring her for her work with several
charitable organizations. On August 14th, 2015, Grace released her critically acclaimed solo album, Midnight, to a #17
debut on the Billboard 200 chart.
Midnight was recorded and mixed at Barefoot Studios in Hollywood, CA, with producer Eric Valentine. The core studio
band consisted of Potter and Valentine on most of the instruments, with Matt Burr on drums and percussion. Additional
contributions came from guitarists Scott Tournet and Benny Yurco and bassist Michael Libramento, as well as former
tour-mates and friends singer-songwriter Rayland Baxter, Audra Mae, Noelle Scaggs of Fitz & the Tantrums, and Nick
Oliveri of Queens of the Stone Age.
“This album is about embracing life as it comes at you – with all its unexpected twists and turns,” says Potter. “I’ve
experienced a huge amount of growth and change in the past two years - both personal and professional, and it can be
overwhelming for an artist to find ways to express that in a vacuum. So I tried to strip away the confines of other people’s
expectations. I started tapping into some of the deep-running themes that have shaped me into the human I’ve become,
and as I went deeper and deeper, I found the results to be insanely satisfying.”
Citing Miles Davis, Dylan, the Beatles, Bowie, Blondie and Beck as prime examples, Potter says she is drawn to artists
who make sonic leaps from record to record—a notion she has explored throughout her career.
Potter has released four other studio albums through major label Hollywood Records: 2006’s Nothing But The Water,
2007’s This is Somewhere, 2010’s self-titled album and 2012’s The Lion The Beast The Beat, with the latter two both
debuting Top 20 in the U.S. In 2010, Potter was featured on Kenny Chesney’s Grammy nominated, platinum-selling hit,
“You and Tequila,” and his 2015 hit, “Wild Child,” which also achieved #1 status on the (billboard) Country chart.
The Revolution was Prince's backing band from in 1983 to 1986.
Although an earlier form of the same band existed since 1979 and toured with him from 1979 to 1983. The departure of Dez Dickerson from Prince's band and his replacement with Wendy Melvoin marks "The Revolution" foundation. The original lineup Wendy Melvoin (Guitar), Mark Brown (Bass), Bobby Z. (Drums), Dr. Fink (Keyboards) and Lisa Coleman (Keyboards) was later expanded with: Eric Leeds (Saxophone), Atlanta Bliss (Trumpet), Mico Weaver (Guitar), Jerome Benton (Dance / Vocals), Greg Brooks (Dance / Vocals) and Wally Safford (Dance / Vocals).
NOTE: Please use this credit only if The Revolution appear on the release without Prince. If The Revolution is credited with Prince, please use Prince And The Revolution.
Noladelic PowerFunk. That's the sound Big Sam's Funky Nation have been whipping up for more than a decade. It's high-energy music that mixes funk, rock & roll, hip-hop, and jazz into the same pot, gluing everything together with the brassy influence — and heavy grooves — of New Orleans.
From national performances at Bonnaroo and Austin City Limits, to hometown appearances at Voodoo Fest and Jazz Fest, Big Sam's Funky Nation have built their reputation onstage. The band's live performances are legendary, filled with blasts of brass, bursts of electric guitar, and the charisma of Big Sam, a frontman who sings, plays, dances, and involves the audience in everything he does. You don't just watch a Funky Nation show. You become part of the show, singing along with Big Sam whenever he demands a call-and-response.
A native of New Orleans, Big Sam first rose to fame as a member of the Dirty Dozen Brass Band, whose touring schedule kept the young trombonist on the road for 300 days a year. The group performed with bands from all genres, backing up Widespread Panic one minute before sharing the stage with Dave Matthews Band the next. A fan of diverse bands like Parliament Funkadelic, Jimi Hendrix, Red Hot Chili Peppers, Living Colour, and Prince, Big Sam loved the variety that Dirty Dozen Brass Band offered. He wanted to front his own group, though. He needed to sing, to engage the crowd, to write his own songs. Inspired to chase down that dream, he formed Big Sam's Funky Nation, reaching out to some of his favorite players from around the Big Easy — including Andrew “Da Phessa” Bayham, Jerry “Jblakk” Henderson, Alfred Jordan and Keenan McRae — to create his own super-group.
"We don't cater to one demographic," says Big Sam, rattling off a list of jam band festivals, jazz shows, rock clubs, and funk gigs that his band has played since 2007. "We play music for everybody. It's not just funk; that's the foundation, but the music goes from funk to rock to wild jazz. It's music about love and partying. Everyone can get down with that."
“Non-Stop: Mexico → Jamaica”
Since its inception in 1995, innovation and creativity have defined Ozomatli. Hailing from Los Angeles , the group found a way to
represent the city’s eclectic culture through music that appeals to the local community and the world beyond. Ozomatli’s success is exemplified in an impressive variety of genres from classic to modern Latino, urban, hip-hop and other world styles. The “Dioses del Baile , ” or “Gods of Dance,” have created one of the most exciting, captivating and flat-out fun live shows touring today. They continue to harness their musical instincts by conceiving new concepts and forging new sounds that keep fans on their toes and the world dancing. The latest recording is an album of classic Mexican hits reimagined with a reggae feel. Titled Non-Stop:Mexico → Jamaica , it pays homage to the band’s Latin roots, allowing them to personalize songs that defined their youth and in turn, become part of Latin and Pop music lore. Produced by drum & bass reggae legends, Sly & Robbie (Bob Dylan, The Rolling Stones, Peter Tosh, Jimmy Cliff, Madonna, No Doubt) and featuring various high profile guest vocalists, the album recreates the magic of classic Latin hits with a reggae dancehall vibe that only Ozomatli could make feel as natural as waves rolling in the Caribbean sands.
For more than three decades as both a leader and a sideman, conguero Poncho Sanchez has stirred up a fiery stew of straightahead jazz, gritty soul music, and infectious melodies and rhythms from a variety of Latin American and South American sources. His influences are numerous, but among the more prominent figures that inform his music are two of the primary architects of Latin jazz – conga drummer and composer Chano Pozo and trumpeter Dizzy Gillespie. Sanchez pays tribute to these two titans on his new album, Chano y Dizzy!, his 25th recording as a bandleader on Concord Picante, set for release on September 27, 2011. For the first time, Sanchez and Francisco Torres, long time band member (trombone/vocals), join forces to produce the new album.
Joining Sanchez on the 11-song set is multi-GRAMMY winning trumpeter Terence Blanchard. It makes sense that, for this project, Sanchez recruited fellow label mate Blanchard, a New Orleans native who literally grew up amid the Cuban and Latin jazz scene and a longtime fan of the music’s multicultural underpinnings. Blanchard has established himself as one of the most innovative and influential jazz musicians and film score masters of his generation. As a film composer, Blanchard has more than 50 feature film scores to his credit. Currently at work on the score for George Lucas’s long-awaited upcoming movie, “Red Tails,” the Golden Globe nominee and four-time Grammy winner’s music was recently featured on Broadway in Chris Rock’s Tony-nominated play, “The Mother****** With Hat.” Blanchard is currently at work on the music for the Broadway remake of A Streetcar Named Desire and has also been commissioned by the Opera St. Louis for a project that will premiere in 2012. His latest CD, Choices, was released by Concord Jazz in 2009 to widespread critical acclaim.
“These two musicians were the pioneers of what is now known as Latin jazz,” says Sanchez. “Chano Pozo was a genius. He’s considered the godfather of conga drummers, and he’s someone whom I respect a great deal. And of course, Dizzy Gillespie was an iconic artist in American jazz. I had the honor and pleasure of working with him on several occasions. These guys were the first musicians to bring elements of Latin music to American jazz – which has resulted in some of the greatest music of the last 50 or 60 years. I felt that it was time to pay tribute to them and their accomplishments.”
While the album includes songs originally written and performed by the two legends, it also showcases compositions crafted by other writers that capture the flavor of traditional Latin jazz. Sanchez’s touring band assists with the songwriting and arranging. The studio ranks include: pianist David Torres, saxophonist Rob Hardt, trumpeter Ron Blake, trombonist/vocalist Francisco Torres, bassist Tony Banda, timbalist George Ortiz, and percussionist Joey De Leon, Jr.
“The great thing about this band is that they take a very traditional approach to Latin music,’ says Blanchard. “They pay a lot of attention to the detail of the specific rhythms they’re playing, and they understand the historical significance of keeping that heritage alive.”
Although born in Laredo, Texas, in 1951 to a large Mexican-American family, Sanchez grew up in a suburb of L.A., where he was raised on an unusual cross section of sounds that included straightahead jazz, Latin jazz and American soul. By his teen years, his musical consciousness had been solidified by the likes of John Coltrane, Miles Davis, Cal Tjader, Mongo Santamaria, Wilson Pickett and James Brown. Along the way, he taught himself to play guitar, flute, drums and timbales, but eventually settled on the congas.
At 24, after working his way around the local club scene for several years, he landed a permanent spot in Cal Tjader’s band in 1975. “I learned a great deal from Cal,” says Sanchez, “but it wasn’t as though he sat me down and taught me lessons like a schoolteacher. Mostly it was just a matter of being around such a great guy. It was the way he conducted himself, the way he talked to people, the way he presented himself onstage. He was very elegant, very dignified, and when he played, he played beautifully. The touch that he had on the vibes – nobody has that sound. To me, he was – and is, and always will be – the world’s greatest vibe player.”
Sanchez remained with Tjader until the bandleader’s death in 1982. That same year, he signed with Concord for the release of Sonando, an album that marked the beginning of a musical partnership that has spanned more than 25 years and has yielded more than two dozen recordings. Chano y Dizzy! is the latest installment in that ongoing partnership.
Sanchez, Blanchard and company set the tone early with an opening medley of lively Pozo tunes: “Tin Tin Deo,” “Manteca” and “Guachi Guaro.” Blanchard delivers down some sultry trumpet lines over Sanchez’s percussion and vocals, while the rest of the band lays down a solid and spicy rhythmic bed throughout.
The followup track is a simmering rendition of Dizzy’s “Con Alma,” with numerous tempo changes that give Blanchard room to flex his muscles in varying rhythmic contexts within a single song.
Further in, “Siboney” is an old Cuban song by Ernesto Lecuona that’s consistent enough with the overall vibe of the record to make the cut. “Ron Bake called me and said, ‘Poncho, I’ve always liked this tune, but Chano didn’t write it and neither did Dizzy.’ I said, ‘It’s alright. It fits. It’ll be fine.’ I’ve always liked the tune myself, so I was glad that we finally got a chance to record it. I think it complements the artists and the period we’re paying tribute to.”
The light-hearted “Groovin’ High” is a Gillespie composition originally conceived as a swing tune, but Sanchez and company rearranged it here to fit more of a mambo vibe. The funky “Harris’s Walk,” another song penned by Blake, was written in the style of Eddie Harris, “but I liked it so much at rehearsal that I said, ‘We gotta put this on the record,’” says Sanchez.
“Jack’s Dilemma,” written by Francisco Torres, came together on the fly with a stripped down rhythm section consisting of Sanchez on conga and Joey De Leon on trap drums. “There are no timbales, no bongos,” says Sanchez. “The engineers in the studio sort of slapped together a drum set. Joey tuned them the way he wanted, and man, ten minutes later we were recording. In the end, I think it sounded great.”
The album ends just as it starts, with a staccato and highly rhythmic Pozo tune called “Ariñañara.” Recorded by several artists through the years, the song is what Sanchez calls “straight-up hardcore salsa music.” It serves close to a recording that celebrates some of the most innovative music to emerge from the 20th century.
“To me, Latin jazz is the world’s greatest music,” says Sanchez. “It has the melodic and harmonic sophistication of jazz and American standards, and the flavor and energy of Latin American music. What I’m most proud of is that this music – while it may sound exotic at times – is from America. It was born in New York City, when Chano Pozo met Dizzy Gillespie for the first time in the mid-1940s. They created something that didn’t exist before in this country. I’m very proud to take this music all over the world all the time.”
This biography is property of Concord Music Group, Inc.
The B-Side Players are a 9-piece band part of a new movement in popular music. A band that honors the international
cross-pollination that has always made music the universal language. They use any beat that catches their ear,
regardless of geography or genre, to create a compelling, horndriven, polyrhythmic groove.
They continue exploring the multifaceted grooves of Latin America and the Caribbean, incorporating the sounds of
Cuba, Jamaica, Mexico and Brazil with the funk, rock, jazz and hip-hop rhythms of their homeland, dropping bits of
Cumbia, Salsa, gritty street Samba, Son Montuno, Jarocho and Boogalo into the mix.
The B*Side Players have been laying down their own inimitable latin global funk since they came together in 1994.
Their incendiary live shows have defined them as local favorites with 10 San Diego Music awards. Meanwhile their
albums showcase a band with restless musical intelligence, effortlessly blending genres to fashion their own forward
looking, latin flavored soul music. As an eight piece band the players are known for igniting crowds with their fierce
rhythms and uplifting message of unity and consciousness. Meanwhile always keeping their focus on the political
climate of the world and nation. The B-Side Players are a living and breathing cultural art experience for the mind
body and soul.