The Echo & The Freedom Party® Present
Freedom Party LA
Herbert Holler, Kenny Summit, Hosted by Carey High Kicks
Fri June 1, 2018
Los Angeles, California
$10 Advance / Free before 11pm / $10 after
This event is 21 and over
NYC’s longest running most legendary old-school dance party makes its way out west on Friday, June 1st. Classic hip-hop, classic soul, classic funk, classic disco, classic house, classic reggae, classic rock, classic pop and the most classic classics from the 70s - 2000s. Pull out your shell-toes, your Filas, BKs, track suits, Kangol hats, Cross Colours and Karl Kani and head to the Echo for a night of ridiculous dance-floor fun.
The Freedom Party
The Freedom Party® is NYC’s longest running, most legendary old-school dance party! Created in 2003, Freedom’s purpose is to bring people together through a classic NYC dance party. Playing predominantly hits from the 80s, 90s and 2000s, be it hip-hop, R&B, pop, rock, reggae or house, Freedom fills its dance floor with people from all walks of life, all ethnicities, races, creeds and colors, from all over the world, looking to have fun, celebrate life, make new friends and be free.
In 2010, Freedom won Papermag's award for "Best Party (Peoples Choice),” and received an honorable mention in URB Magazine's "Best Party" nationwide. In 2015, Freedom won Village Voice’s highly coveted award for “Best Dance Party.”
In the summer of 2011, Freedom flew Midwest to begin a new journey. Now in its seventh year, Freedom Party® CHI has quickly become the Second City’s #1 party destination. Each month, Freedom brings hundreds of discerning partygoers to its dance floor (Beauty Bar, 1444 West Chicago Ave), spreading that NYC love to new listeners and growing the Freedom family.
The Freedom Party® NYC, now in its 15th year, continues to pack its dance floor at highly sought-after events throughout the month, and add the most legendary dance destinations in town to its resume, including our annual anniversary at Central Park Summerstage, “One Step Beyond” at the American Museum of Natural History, Midsummer Night Swing at Lincoln Center, the Brooklyn Botanic Garden Spring Gala, First Saturdays at the Brooklyn Museum, Celebrate Brooklyn at Brooklyn Bridge Park and much more.
Thousands of people are in attendance at these events.
Thousands of people dancing to the sounds of FREEDOM!
When I was little, I had problems sleeping. I wasn’t putting myself to bed ever, really. My parents tried everything in the book to get me out, but nothing worked. One night, my dad was at the bar doing his funny dance to Survivor’s “Eye of the Tiger,” and I asked him to pick me up. Less than five minutes later, I was out. Every night thereafter, he slung me over his shoulder just before bedtime and danced me to sleep—to Queen, Styx, Chicago, Meatloaf and lots and lots of Electric Light Orchestra.
ELO was our personal favorite. I ended up memorizing every word to every song off “Out of the Blue.” Anytime we were in his Honda Accord ’87, that 8-track went in. My mom had her input, too. Mostly Billy Joel, Tom Jones, maybe some Diana Ross. She tried singing me to sleep some nights, but “Why Do Fools Fall in Love” doesn’t really set the mood for deep slumber. She gave me my very first piece of vinyl—1966’s “The Best of the Beach Boys.” After the needle gave up trying to stick to that record, she handed me the soundtrack to “Hair.” When the day finally came for me to start learning the value of a dollar and buy my own music, the first tape I went out and purchased was Run DMC’s “Raising Hell.”
How I got from 70s orchestral rock, surf ditties, and Broadway musicals to hip-hop, I’ll never know. But that diversity has stuck with me to this day. Just when I pledge allegiance to some new rap artist, I’m a bloodthirsty digger searching for a new, synthetic electronic sound I heard on satellite radio or on somebody’s blog. And then I’m back frantically Googling a soul or disco sample I recognized from an old tune, or putting the finishing touches on a Dubstep mix I took way too much time obsessing over, or re-organizing my playlists so I know the difference between bounce, trap and an old Dirty-South anthem.
The question of how I ended up spending half my waking hours in a nightclub is easy: I practically grew up in one. Again, my father’s to blame. He used to be the Food & Beverage Manager at Resorts Casino Hotel in Atlantic City, NJ, my hometown. I clocked more hours at that place than some of the people on payroll. And this was the 80s, mind you, when the casino strip was as glamorous as it would ever be: fur coats, pearl necklaces, big Cadillacs and Liberace (who I saw live…many times). The lights, the sounds, the electricity in the air, even the smells…these things never left.
Nor has my penchant for making people smile. In grade school I brought class clown to a new level. It cost me my grades, and also led to a few suspensions, but there was nothing I enjoyed more than leaving my classmates in stitches. Sometimes even the teacher had to take a second to regain composure. I thought maybe I’d make a good Psychologist, helping people smile, so I went Premed at NYU, till I realized the night before classes started that I’d have to sit still and study a lot. (Hence the B.A.) Naturally, I tried my hand at comedy, but I couldn’t afford to be broke, and I was already getting gigs and discovering my knack for making dance floors pop. So, it was settled: I was to be a professional DJ.
Today, my career is in its 14th year with no signs of slowing down. I’ve played just about every NYC lounge, bar and dance club from Wall Street to 125th, from Brooklyn to the Bronx, not-to-mention residencies and guest spots across the globe; I continue to work with a growing list of high-profile clients and world-renown artists; I spin some of the most celebrated annual events in NYC, including the Brooklyn Black Tie Ball, the Brooklyn Botanic Garden Spring Gala and Central Park Summerstage to name a few; I’ve created the most legendary old-school dance party in NYC history, the award winning Freedom Party® (voted “Best Dance Party” by Village Voice in 2015; also a monthly in Chicago); and I continue to create unforgettable nightlife experiences for people from all walks of life.
After years of hard work, dedication and professionalism, my name and reputation as a DJ in the music and entertainment industry precedes itself. And though I don’t get to play nearly as much ELO at the gigs as I’d like to, and 8-track tapes (and Liberace) are long gone, my love for the music, the night, and for making people smile are still here.
As far as describing his musical style, DJ Mag once gave it a shot, "You had to be there. He played cuts by Tribe Called Quest, Patrice Rushen, Stevie Wonder and David Byrne in the same set with Adonis, Moloko, Laurent Garnier, Orbital and Derrick May, somehow melding it all together in a way that had the crowd going ape-shit-crazy. Kenny Summit is something special. Where has he been hiding?"... and speaking on his production abilities, who better to put things in perspective than the Godfather of House Music, Frankie Knuckles, "I absolutely love Kenny's practical approach to production; staying true to original vocals with his remixes, always putting the dancefloor first. I love his work, I love him, or I wouldn't be working with him."
It's not easy to place Kenny in a specific box, or label him in today's ever changing club scene as he admittedly tries to keep himself somewhat underground. While many DJs play banger after banger, Kenny has built a solid reputation on playing jams, creating a vibe. You wont see him with his hands in the air making heart symbols or doing the Jesus pose in the DJ booth... Kenny is too busy selecting the absolute perfect record to play next, possibly the one that will take the crowd to a euphoric state of mind, making their night one they will never forget.
"I got into DJing in 89, and been gettin paid to do it since 93' : New York City in the 90's, that was the "golden era" for both hiphop and house music, a time when working DJs had to play all styles, or they didn't get much work. Mixing between genres, playing both new and old music alike, showcasing their technical abilities, all while taking the crowd on a journey, if you couldn't do all of this, you weren't DJing in NYC" - Kenny Summit
As a producer, Kenny Summit gained quick international notoriety with his first #1 hit, "Loving You", a collaboration with his mentors; Frankie Knuckles, and house music icon Eric Kupper. To the dance music community's pleasant surprise, Kenny did not turn out to be a one hit wonder: on the contrary, Kenny has had well over 2 dozen #1 records and over 50 Top 10 releases on both major and indy labels alike, as well as a Billboard #1 for the undisputed King and creator of DISCO, Giorgio Mororder. He practically lives in the studio, and talks about keyboards and drum machines like most parents talk about their children.
If you find yourself in a dark, smoke filled warehouse, where the walls are dripping with sweat, and giant stacks of speakers tower above the crowd, or maybe you're at some random rooftop party, nightclub, or even a small pub, be it in Berlin, LA, London, Moscow, New Jersey, Detroit, Philly, wherever you are; if the music is THAT GOOD, if your'e lost in the moment, dancing with your eyes close, totally immersed in the vibe, take a glance towards the DJ booth and you may find Kenny Summit in the mix. This guy LOVES to DJ and takes all kinds of gigs; just as long as the crowd is up for a healthy dose of tasteful, underground music.
Hosted by Carey High Kicks
Carey Ysais is an American dancer and choreographer. He is best known as the co-founder, director, and executive producer of a popular monthly show called The Carnival: Choreographer's Ball, which is also the longest running dance show in Los Angeles California.
Ysais starting dancing as a teenager and was heavily influenced by Don Campbell, who invented the locking dance in the 1970s.
In 1998, Ysais and choreographer Paulette Azizian created a show to give dancers and choreographers an outlet for free artistic expression without the constraints of commercial profit, or the demands of a director or a script, called The Carnival: Choreographer's Ball. The show quickly caught on with the dance community and began to boost the careers of dancers and choreographers. The show has a history of being sold out. For some shows, Ysais is a co-host in addition to being the producer and director.
On December 6, 2010, Carey Ysais received a Lifetime Achievement Award at the 2010 TIV Awards.