Working Californians Presents
2016 Labor Day Music Festival Featuring: Snoop Dogg
Los Lonely Boys, Poncho Sanchez, Dennis Jones Band, The Victor Orlando Orchestra and Fun-Ja-La; Cuban Funk, The New Orleans All Star Band featuring: James Andrews, Herlin Riley and Detroit Brooks, Dr. John
3911 S Figueroa Street
Los Angeles, CA, 90037
Doors 11:00 AM (event ends at 8:30 PM)
Multi-platinum artist, actor and entertainment icon Snoop Dogg is at the forefront of popular culture with award-winning albums and songs, multiple films, lifestyle products, philanthropic efforts, and digital ventures, including his YouTube original series "GGN News." Snoop Dogg has sold over 35 million albums worldwide and received multiple GRAMMY® nominations. Since 1993, he has released thirteen albums and collaborated with artists across all genres of music. Snoop defines hip-hop history. He's set records with his seminal album Doggystyle, which debuted at #1 on the Billboard 200 chart and sold over 800,000 copies in the first week.
This past spring, Snoop released his 13th studio album, BUSH, which debuted at No. 1 on Billboard's Top R&B/Hip-Hop Album chart, marking this as Snoop's sixth chart topping hit. Entirely produced by Pharrell Williams, BUSH is a creative experience and cultural exploration that transports listeners through a journey of sight and sound. BUSH is Snoop's first album on Columbia Records and features collaborations with Gwen Stefani, Kendrick Lamar, Rick Ross and T.I.
Snoop's non-profit work in the community is commendable, as he established the Snoop Youth Football League (SYFL) in 2005 to give children between the ages of five and 13 the opportunity to participate in youth football and cheer. SYFL teaches them the values of teamwork, good sportsmanship, discipline, and academics. Today, SYFL boasts 30 teams, more than 1,200 players and over 75 cheerleaders.
Most recently, Snoop has positioned himself as a savvy and forward-thinking leading in the tech space. In late 2015, Snoop launched MERRY JANE, a media platform which sits at the crossroads of pop culture, business, politics, health, and the new generation of normalized, sophisticated cannabis culture for all. He also recently unveiled his very own cannabis product line, "Leafs by Snoop," which are currently available in dispensaries throughout Colorado.
Los Lonely Boys
Can anything even more magical happen in the already charmed career of Los Lonely Boys? You bet. It's called Rockpango, their first self-produced long player on their own LonelyTone/Playing In Traffic Records. And yeah, it's magical indeed.
At least as magical — and maybe more so — as debuting in 2003 with a multi-chart gold single, selling millions of albums, winning a Grammy, racking up reams of critical acclaim, opening for The Rolling Stones, and many more accomplishments for the Texican rock'n'roll trio of
brothers. Plus playing and recording with such legends as Willie
Nelson and Carlos Santana, associations that give a strong hint at what's at work here on Rockpango.
After proving themselves one of the most stunning and wonderful musical success stories of the last decade, Los Lonely Boys are now carving out their legend with their fourth studio album. Even though the band has already shown they can "up the ante with greater musicianship and confidence" (People) every time out, on Rockpango they heighten the trajectory, open up their sound, and show what flourishing maturity feels like from these veteran yet still young and
burgeoning musical talents.
Rockpango is a spirit and sound coined by Los Lonely Boys that takes the next step from fandango (a beat of loving celebration) and then huapango (another infectious Latin rhythm that gets the fiesta cooking) to a full-scale Tex-Mex American roots rock party galore. Bursting out of the gate with the simmering and slinky "American Idle" that scans today's tough economic times, and wrapping up 10 tracks later with the fierce and fiery assertion that love is the answer on "Believe," Los Lonely Boys look at the big picture around us with the
concerns and continuing faith that come with well-grounded adulthood.
Their ever-expanding musical vision fills the set with new facets that further reveal the group's already notable artistic diversity. "16 Monkeys" is a delightfully funky slice of infectious neo-bohemian wit and wordplay, while orchestration by the Tosca String Quartet adds classic rock-pop sophistication on the achingly beautiful "Road To Nowhere" and the Beatle-esque gem "Smile." And they fuse deep blues with a hip-hop twist on "Porn Star," which includes a razor-sharp rap at the tail end by Kush, one of their Texas extended family relations.
They soar on "Fly Away," rip it up to percolating Latin beats on "Love In My Veins" and "Baby Girl," and reassert their mastery of the classic music that influences them as demonstrated on their recent 1969 EP. They deliver '60s style blues-rockers on the rousing title tune and powerfully loping "Change The World" — two more slices of their spot-on social commentary and consciousness.
The trademark Los Lonely Boys genetic vocal blend is deeper, richer, more fluent and confident than ever. The rhythms are utterly irresistible as well as flush with smart syncopation and muscular drive, abetted on some tracks by tour percussionist Carmelo "Melo" Torres. The brothers' songwriting skills stamp indelibility on every winning number. And Henry Garza goes even beyond what Guitar World hails as being a "guitarist with chops out his ass who doesn't care about chops [and] just opens up and plays." Joined by veteran Austin player Riley Osbourn on keyboards, Los Lonely Boys deliver and more on
"I'm super proud of it," says JoJo Garza, bassist and middle brother in the triumvirate. "It's just progress, maturation and growth. Growing up, being older, seeing the world we're living in. It's also touching base with home."
Los Lonely Boys tale to date is already the stuff legends are made of: Playing behind their father as kids in cantinas and honky-tonks. Moving to Nashville in their teens to try to win a record deal. Returning to their native Texas, where the brothers made their bones on the club scene as a live act. Releasing their self-titled debut, which goes double platinum, and penning a #1 radio hit in "Heaven."
Two more stellar studio albums followed: Sacred (2006) and Forgiven (2008). In 2009, they cut 1969, an EP that leaps back four decades to reveal how the group's roots extend well past their birthdates on songs by The Beatles, Santana, The Doors, Buddy Holly and Tony Joe White. 2010 brought about the release of Keep On Giving: Acoustic Live! a snapshot of their recent acoustic tour.
So after all that, what's left but to meet the new decade with the
great leap forward, upward, outward and onward of Rockpango? "It was just time to grow and change," explains JoJo. "But not change too much. It's kind of like a tree. A tree doesn't actually change much as it grows. It gets taller, grows more branches, gets thicker and stronger.
"I think it's one of our best if not our best," he adds. "We took the ball and I think we scored a touchdown."
And after eight years of championship seasons, Rockpango paves the way for Los Lonely Boys to enter the rock'n'roll pantheon of legendary musical artists while also remaining true to themselves. "We're still Lonely Boys," JoJo insists, chuckling in agreement that they are also now Los Lonely Men who have truly come of age on their latest. "We're still family, we're still three brothers, we're still doing what the good Lord has blessed us with, and that's singing and playing for people who really want to listen."
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.
Dennis Jones Band
Sizzling hot guitar solos. Smooth and soulful vocals. High-energy stage performance. Backed by a rhythm section that is second to none, this IS Dennis Jones. Check out a live show, and you’ll instantly agree, this band ROCKS the blues like NO other! Dennis’s feet are firmly rooted in the past, yet his heart and soul are connected to the present. He writes songs that seamlessly blend the best of both worlds, presenting a unique and contemporary style of American rock and blues. And unlike others, he isn’t afraid to tackle the controversial issues of today.
The Victor Orlando Orchestra and Fun-Ja-La; Cuban Funk
Victor Orlando, percussionist to the stars, musician, music producer, songwriter, actor, comedian, screenwriter, movie producer and director of the brand new comedy movie, SWITCH! Recipient of a Lifetime Achievement Award in Percussion, presented by The 7th Annual Hollywood F.A.M.E. Awards / Los Angeles Music Awards. Victor is also the recent recipient of The Best Percussionist Award presented by The 2nd Annual Nollywood Film Awards. Grammy nominated & NAACP Award nominee for his CD, “N Da House”, comprised of phenomenal Funk, Jazz & Latin music, hence the name of his band, Fun-Ja-La. Available at iTunes, eMusic, Spotify, CDBaby and most of your favorite online music stores. You may have heard his song, Argentia, in the feature film “For The Love of Money” starring Edward Furlong & James Caan. Victor is the former percussionist of The Gap Band. His work can be heard on the timeless R&B classic, Outstanding. His work can also be heard on the unforgettable R&B hit, Computer Love by Roger & Zap and countless other recordings. Victor has also performed & recorded with Angie Stone, Yarbrough & Peoples, Teena Marie, Buddy Miles, Billy Preston, Bobby Womack, 2Pac, LL Cool J, Chaka Khan and many, many more. To know more about all of the exciting events, music, video & movies releases of Victor Orlando, please visit victororlandomusic.com.
The New Orleans All Star Band featuring: James Andrews, Herlin Riley and Detroit Brooks
Like so many New Orleans performers, James Andrews is part of a musical dynasty. Two of the Big Easy's R&B greats are his relatives: Prince La La and Jessie Hill. An uncle, Prince La La is best remembered for his song "She Put a Hurt On Me." Hill, whose 1960 hit "Ooh Poo Pa Doo" is an R&B landmark classic, is Andrews' grandfather. Although Hill did not live to see the release of his grandson's acclaimed 1998 CD, he no doubt is proud from his vantage point on the other side.
That CD, Satchmo of the Ghetto, opens with an homage to Andrews' grandfather. The song "Poops Ain't Gotta Scuffle No More" is a tribute to Hill penned by two of his admirers and students: Allen Touissant and Dr. John. Both musicians used what their mentor taught them to become giants of the R&B genre; both gave something back by helping their friend James Andrews create his first CD.
Born into a musical family, Mr. Riley was always surrounded by music. He began playing the drums at age three. Mr. Riley studied trumpet throughout high school and two years of college. His attraction to the trumpet was short-lived, however, and he concentrated his efforts on the drums.
Mr. Riley's new album "New Direction" has been met with critical acclaim. He has been a shining exemplar of New Orleans rhythm — as a cultural study, a living language and a model of hybridity — since emerging on the national scene in the 1980s. Working first with the pianist Ahmad Jamal, and then the trumpeter Wynton Marsalis, he established a reputation for his commanding yet ebullient groove. That irresistible force provides the foundation for “New Direction,” but not as an end unto itself.
Famed session and touring guitarist of the New Orleans music scene, has the most unrecognizable face in the city. But after and evening of his music prowess, few music critics, aficionados or novices will forget his smooth yet infections stroke based in solid fundamentals. Often admired by guitarists worldwide, Brooks' laid back demeanor masks one of the most heralded and sought-after singer, songwriter, performer and session men of our time.
The legendary Dr. John is a six-time GRAMMY® Award-winning musician and Rock & Roll Hall of Fame inductee. Known throughout the world as the embodiment of New Orleans' musical legacy, Dr. John is a true icon in American culture. His colorful musical career began in the 1950s when he wrote and played guitar on some of the greatest records to come out of the Crescent City, including recordings by Professor Longhair, Art Neville, Joe Tex and Frankie Ford.
Dr. John headed west in the 1960s, where he continued to be in demand as a session musician, playing on records by Sonny and Cher, Van Morrison, Aretha Franklin and The Rolling Stones' Exile On Main St. During that time he launched his solo career, developing the charismatic persona of Dr. John the Night Tripper. A legend was born with his breakthrough 1968 album Gris-Gris, which introduced to the world his unique blend of voodoo mysticism, funk, rhythm & blues, psychedelic rock and Creole roots. Several of his many career highlights include the masterful album Sun, Moon and Herbs in 1971 which included cameos from Eric Clapton and Mick Jagger and 1973's In the Right Place, which contained the chart hits "Right Place Wrong Time" and "Such A Night."
In addition to his six GRAMMY® wins (1989, 1992, 1996, 2000, 2008 and 2013), he has received six other GRAMMY® nominations over the years. In 2006, he was nominated for Sippiana Hericane, his Hurricane Katrina benefit disc. After Hurricane Katrina, Dr. John immediately stepped up to the plate with generous relief fund-raising concerts and recordings. In 2007, he was also inducted into the Louisiana Music Hall of Fame and the Blues Hall of Fame. In 2008, he released City That Care Forgot, winning a GRAMMY® for Best Contemporary Blues Album. His 2012 release Locked Down, with Dan Auerbach of The Black Keys also won a GRAMMY® for Best Contemporary Blues Album.
In 2013, Dr. John was awarded an honorary doctorate from Tulane University alongside His Holiness the Dalai Lama.
On August 19, 2014, Dr. John releases Ske-Dat-De-Dat…The Spirit Of Satch on Concord Records, an album in tribute to another larger-than-life New Orleans legend: Louis "Satchmo" Armstrong. He honors Armstrong's musical genius as well as his effervescent personality with 13 classic numbers drawn from various phases of the seminal trumpeter and vocalist's five-decade career, with Dr. John joined by a stellar supporting cast, including Bonnie Raitt, Ledisi, the McCrary Sisters, Anthony Hamilton, Shemekia Copeland, the Blind Boys of Alabama, the Dirty Dozen Brass Band and trumpeters Nicholas Payton, Terence Blanchard, Arturo Sandoval, Wendell Brunious and James Andrews.
After a half century of creating music for others and himself, Dr. John continues to write, arrange, produce and interpret with a passion that has yet to wane.
$20 & $299
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 non-alcoholic 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.
LA Memorial Coliseum's Exposition Park
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