Sunset Station

On Thursday October 10th we begin our residency at Club Madrid inside beautiful Sunset Station! There is no cover charge and the show starts at 9pm.

For those of you who have not enjoyed this venue, it is very reminiscent of GVR, we know you’re going to love it, especially our Anthem friends.

Also, a huge shout out & thank you to those of you who supported us at The Smith Center last week, what an amazing night! And… they want us back, so stay tuned for that! In the meantime, please come out and see us Thursday October 10th, Thursday
November 7th, & Thursday December 5th in the incredible Club Madrid inside Sunset Station.


Doc Goes Vegas Now Shipping!


The Lon Bronson All-Star Band has been keeping the tradition of great horn band music alive in Las Vegas since 1990, so it was only natural that Stephen “Doc” Kupka formed a musical partnership with Lon Bronson. Doc and Lon began writing songs together some years back and it was decided that “DOC GOES VEGAS” would be the culmination of that musical alliance.

Recorded LIVE on September 15, 2011 at the Ovation Room in the Green Valley Ranch Casino, “DOC GOES VEGAS” is a great collection of new tunes along with smoking versions of some TOWER OF POWER classics.
BONUS DVD includes video footage of the live show!

Doc Goes Vegas

The LON BRONSON ALL-STAR BAND features some of Las Vegas’ finest musicians and is the longest-running band in Las Vegas history. Many headlining artists drop in to catch the band or perhaps sit in. Performers like Skunk Baxter, The Righteous Brothers, Huey Lewis, Tower of Power, Blood Sweat & Tears, The Temptations, Taylor Dane, David Cassidy, Penn Jillette, The Bare Naked Ladies, Tom Jones, Joe Walsh and the cast of the HBO Drama, The Sopranos have come by in just the past few years. World Heavyweight Champions Ken Norton and Leon Spinks attended the recording of “DOC GOES VEGAS”.

Catch the excitement that is the LON BRONSON ALL-STAR BAND with Doc Kupka’s latest project, “DOC GOES VEGAS”.

DOC GOES VEGAS is a co-production of Strokeland Records and House of Hansen Productions, LLC and Strokeland wishes to thank Chuck Hansen for his loyal support and invaluable assistance with this production.

Click here to order from Strokeland!


Ellis Hall

Ellis Hall, born in Savanna, Georgia, raised in Boston, is often labeled “genius”. Without musical boundaries he is the quintessential performer, multi-instrumentalist and vocalist, with a five-octave range.

Hall has also made a mark with his incredible ability as a songwriter, arranger and producer. Ellis has performed, recorded and collaborated with a vast variety of musical icons. Including Stevie Wonder, Patti LaBelle, George Benson, Michael McDonald, John Mayer, Herbie Hancock, Earth Wind & Fire, Natalie Cole, James Taylor, George Duke, Huey Lewis and the News and his musical mentor Ray Charles.

In the early years of his career, Ellis was featured as the lead vocalist performing with Kenny G. on his debut hit single, “What Does it Take.” He then joined the soul-stirring group Tower Of Power as lead vocalist, keyboardist, songwriter, arranger, and producer and enjoyed tremendous success as a member of the multi-platinum group, The California Raisins.

Ellis has been featured in the award winning TV shows including, “The Wonder Years”, and The 75th Oscars “Chicago” segment with Catherine Zeta Jones and Queen Latifa. Some of his film credits include “Big Momma’s House” with Martin Lawrence as well as Steven Spielberg’s “Catch Me If You Can” starring Tom Hanks and Leonardo DiCaprio. He has also been a featured vocalist on soundtracks ranging from the TV series West Wing and NYPD Blue to films such as “Lion King II,” “Chicken Run,” “Bruce Almighty,” “A Day Without A Mexican” and “Polar Express”.

Ellis has the honor of being the only artist, other than Ray Charles, to be signed to Charles’ label Crossover Records. He performed and was introduced as Ray Charles’ protégé at The John F. Kennedy Center for the Performing Arts where Mr. Charles received the National Visionary Leadership Project Award. This tribute has lead to his recent performances with various symphonies including the Pittsburg, Tucson, Nashville and Honolulu Orchestras. Ellis is proud to carry on the celebration of the soul legacy.

Bronson Has Made the Rounds in Vegas

The Lon Bronson All-Star Band performs Thursdays at the Ovation lounge in Green Valley Ranch.
The Lon Bronson All-Star Band performs Thursdays at the Ovation lounge in Green Valley Ranch.

Musicians usually have a meaningful story about why and how they chose to specialize on a particular musical instrument. It’s often about how they felt an irresistible pull toward a guitar, the piano, saxophone. Lon Bronson was drawn to play the drums when he was a kid. So what did he do? He played the trumpet. “When I was 10,1 desperately wanted to be a drummer but my parents had a trumpet laying around,” says Bronson, founder and leader of the Lon Bronson All-Star Band. “They said ‘Here you go, you’re going to play the trumpet.  It was kind of a sealed fate, I didn’t have a lot of wiggle room there.”

That was 40 years ago, and he’s picked up some percussion experience along the way. But the trumpet has been the bread-and-butter of his career, so in hindsight, it looks like his parents knew something he didn’t. Bronson has worked steadily since moving to Las Vegas in 1985, as a musician,, consultant, bandleader and musical director. For the past 19 years, he’s played the trumpet in his self-named All-Star band, something he calls a “labor of love,” a way to have some fun playing the horn.

The 14-piece big horn band started as a Tower of Power cover band with the blessing and support of its members, Bronson says. Nineteen years later, it’s morphed into more of an original entity, playing what Bronson calls rearrangements of cover tunes, as well as the band’s own music.

The Lon Bronson All-Star Band plays a recurring 9 to 11 p.m. gig Thursdays at the Ovation lounge in Green Valley Ranch.

For more information, visit Bronson’s Web site at


A Night in The Life

By Lon Bronson

“Woke up, got out of bed, dragged a comb across my head….”

Well, not exactly, but I had spent eight or more hours in mundane conversations with agents and stage managers about upcoming gig details. All that will soon be behind me as I prepare to leave for my All Star Band Saturday night performance (“get a little action in”). I kiss the kids goodnight as they leave me with the eternal question: ‘What’s the true meaning of Christmas, Daddy?’ Before I can venture a reply, they chant in gleeful unison “Vengence”, ah, I’ve taught them well.

My Durango 95 purrs away (“Baby you can drive my car”). It’s a real horror show down Las Vegas Boulevard; I’m steeling myself for the upcoming battle. Tonight we’re recording “The Gig” and that’s special. As I pull into the Golden Nugget valet I make small talk with the attendants. (“Everybody knows my name”). In Vegas it’s way more important to know the valet guys than the bartenders (but knowing the bartenders doesn’t hurt either). I make my way through the battleship gray labyrinth of wrong way turns to the Sinatra Room. Find the elevators. The frenzied trumpet duel from ‘The Good, the Bad and the Ugly” plays over and over in my mind. I half expect to be confronted by Tuco and Angel Eyes as the doors slide open. ‘(“If there’s anything I can do, just call on me and I’ll send it along.”)

Now there’s a flurry of activity – set lists must go out, mutant musician egos must be massaged, which guest artists are sitting in and are they here? I need to relax, only 22 minutes to downbeat time, where’s my beer?
Fee Waybill from the ‘Tubes’ enters our Sinatra Green Room. I’ve been a fan for years; he’s the ultimate front man. What can I say that would be cool? I manage a lame “Hey man!” Noel Coward I’m not. “I’m just a jealous guy” without any power tools.

It’s the midnight hour. Cue the good guys. Rhythm section is in place. Assemble the horn section in the wings. Tom effortlessly screams out a double C note-guess he’s warmed up! Sloppo (the forgotten Marx brother) brings up the rear. He just now begins to assemble his charts and put his horn together (“Try thinking more if just for your own sake”).
We finally take the stage. Applause is mixed with ‘whoas’ and ‘my mans’ which heralds our arrival. Band fans. ‘Cat’ lovers.

I give Mark “the look” and he clicks off four into our opener ‘Gotta Run’. I have a split second to make a decision: one more pull of Guiness or play my horn. Reluctantly I reach for the horn. The first few notes are laborious, a test of sorts: “Cold turkey”.
I once told friend Drew Carey comedy was easy and playing the trumpet is difficult. I like Drew: “A working class hero is something to be.”
The tune comes to a screaming, screeching finish and the crowd erupts…..what this is really all about. I step to the mic to address them thinking ‘So this is what it’s like to be a big Vegas star like Clint or even the Scintas’…. “Imagine” but I kid, I kid….

Over the next 90 minutes we play 15 songs , I down five Guinesses, Sloppo fumbles three more times, Fee nails two unrehearsed Tubes tunes and newlywed Penn Jilette gets kicked in the jewels by one little fool. It turns out to be an “ordinary All-Star gig after all.” I want to tell you being a live musician is a magnificent anachronism.

We’re pauper dinosaurs, new Age antiques, the last of the last yet best of the best and I’ll keep showing up til the fat lady sings.