Ask yourself. When was the last time you had fun, I mean really had fun, listening to a CD? If it's been a while, then treat yourself to El Bando En Fuego by Lee Press-On and the Nails. This little treasure is a kicky blend of schlock and sophistication. It is impossible to accurately pidgeonhole El Bando En Fuego. Think Spike Jones meets Xavier Cougat.
LPN's ten members turn out a great sound led by the solid playing of Lee on organ, therenim and marimba. Lee's irreverent personality shows in his interpretation of such standards as "Begin the Beguine" (a song that has never been one of my favorites, but in this particular rendition was enjoyable), and "Brazil"(performed on the therenim).
Besides Lee, the other shining light in this offering is vocalist Leslie Presley. It goes without saying that she has a wonderful voice, but that wouldn't be enough to make her stand out. Add to the voice a solid understanding of the music and you get something special. "Coax Me A Little Bit" is a prime example of Lesley at her best.
The real purpose of covering standards is helping listeners appreciate LPN 's original fare even more. These songs offer some of the most original lyrics out there. "Labrea Tarpits... where nobody's dreams come true" comes to mind.
Track Listing: Pico and Sepulvida, Begin the Beguine, Brazil, God's Gift, Bai Mir Bist Du
Schon, At An Arabian House Party, C.o.t.E Anthem, It Had Better Be
Tonight, Hate Street Blues, shaolin Kung-fu Death Grip on My Soul, Coax
Me A Little Bit, Two Points Up, Pink Elephants On Parade, enjoy Yourself,
Well Did You Evah, Mexican Radio.
Personnel: Lee Press-on. vocals, Mallet instruments, theremin, pipe organ. Leslie
Presley,voacals finger cymbals, Mark Donnelly, also sax, Mike Bello, tenor
sax, Pat Byers, baritone sax, flute, Bob thies, trombone, Todd Grady,
trumpet, CDanny Uzilevsky, guitar, Ian Dickenson, upright bass, Patrick
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me
I was first exposed to jazz as a baby. When I was a child, my parents regularly played classic jazz, i.e., Fitzgerald, Hawkins, Holiday, Davis, Coltrane, Monk, Montgomery, Silver, etc. I vividly remember sitting in front of the stereo as a kid, rocking back and forth to jazz, so the music is embedded in me. As a life-long jazz lover, I eventually became a jazz educator and producer/host of a very popular jazz radio program in Los Angeles, California.
I love jazz because it is so free. I can think, feel, and dream to jazz, and it allows my mind to flow and expand, musically and otherwise. I also love jazz because it, much like other forms of music, allows opportunities to bring people from all walks of life together. What makes jazz more significant to me, though, is its historical significance; that is, how jazz served, in part, as a method of bringing communities together, a cultural/social/spiritual conduit.