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Postmodern Jukebox
12-03-2014, 03:01 AM
Post: #11
RE: Postmodern Jukebox
Some recent comments on "I'm Not the Only One - Vintage New Orleans - Style Sam Smith Cover ft. Casey Abrams".

Quote:dominick miles 44 minutes ago
More Casey Abrams !!
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Nicole Dawn 1 hour ago
Hot damn, HIS VOICE! lol wowwww
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Amanda Leopold 3 hours ago
Love!!
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XoxoAva 7 hours ago
I live his hair 
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IIICadillacJak 7 hours ago
Absolutely incredible!!!
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Anna Neyman 7 hours ago
Really, really cool! Well done.
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MrPortland123 8 hours ago
Is guy is great has a great voice as well
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TheKingOfSexyness 9 hours ago
Awesome trumpet solo!
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Taobyby 11 hours ago
Now the song mages sense! Thanks! Wink
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supeririel23 11 hours ago
Awesome!!! 

nickfunkmaster 14 hours ago
That was AWESOME!!!!! Please do more of these videos with Casey!! 
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I.Robics Dance Fitness 1 day ago
#loveit this cover is the bizness!!
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wdwnutjm 2 days ago
Thanks for ONCE AGAIN turning a song I hate into something that sounds GREAT!!!
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12-03-2014, 06:32 PM (This post was last modified: 12-03-2014 08:04 PM by john.)
Post: #12
RE: Postmodern Jukebox
Quote:SCOTT BRADLEE & POSTMODERN JUKEBOX
The work of Scott Bradlee & Postmodern Jukebox has been viewed on the ensemble’s YouTube channel well over a hundred million times. Most of those doing the viewing, however, are not fully aware of the method to Bradlee’s madness.

On the surface, the method is video – clips of full-band performances (that’s Bradlee on piano) shot in the bandleader’s living room with a single stationary camera. The madness: pop hits of the present performed à la pop hits of the past. Miley Cyrus’ “We Can’t Stop” assayed as a doo-wop number; Macklemore and Ryan Lewis’ “Thrift Shop” tricked out in flapper jazz; Sam Smith’s “Stay With Me” rendered a 1940s big-band standard.

In fact, Bradlee’s method runs deeper. He’s educating his audience about 20th-century song styles; he’s commenting on the elasticity of the pop form; he’s confounding cultural context; he’s uniting generations; he’s breaking the rules. He’s manifesting postmodernist ideas in his approach to production and business as well as music. But as far as the fans are concerned, it’s just fun (and sometimes funny). Bradlee himself will tell you, simply, “I reimagine a song in another style because I want to hear it that way.”

Clearly, so does everyone else, as evidenced by PMJ’s presence on concert stages (stateside and abroad) and Billboard’s Jazz Albums chart, where its self-released 2014 opus “Historical Misappropriation” landed in the Top 10 alongside John Coltrane’s “Offering: Live at Temple University” and “All Rise: A Joyful Elegy for Fats Waller.”

This proximity of Bradlee’s outfit to Waller is particularly fitting; the former, a self-taught jazz pianist, considers the latter, an innovator of the Harlem stride style who helped lay the groundwork for modern jazz piano, a key influence, as is Jellyroll Morton, James P. Johnson and Art Tatum.

Which isn’t to discount the importance to Bradlee’s development of Michael Jackson’s “Bad,” the vinyl incarnation of which was, he says, “the first album I ever loved.” That was when he was six, growing up in Pattenburg, New Jersey, where he moved at four from Nesconset, New York. He took piano lessons, but they didn’t take. Then, at age 12, Bradlee heard “Rhapsody in Blue” and was forever changed. “I got the sheet music and taught myself how to play it,” he recalls. “I started wondering, ‘Where does this come from? What else sounds like this?’”

Asked what appealed to him about the popular music of the 1920s, ragtime especially, he says, “I could play it fast and loud. It was brash. And it had contempt for rules, which really appealed to me.”

Bradlee began his career as a jazz pianist during high school with a standing gig at a local eatery; he began his career as a pop-cultural provocateur during high school with a “this might be cool” ragtime medley of classic rock songs. “Not much has changed,” he says of the lyrical content of pop music. “In the 1920s, in the ’60s and ’70s, today – it’s still about love and drinking and dancing.”

He pursued Jazz Studies at the University of Hartford, then moved to New York to become a starving artist. He booked gigs, but as he puts it, “Jazz pianists are a dime a dozen in New York City.” So he moved to Astoria to save on rent and, in 2009, started making videos. “There was this niche on YouTube where people were doing experimental, interesting, funny things with music,” he notes. “It was another way to reach an audience.”

Bradlee’s first video was straight-up jazz. He didn’t have much footage of himself, however, so he decided to try a video experiment of his own: a ragtime medley of ’80s pop. He managed to amass 100 views. But through one of those viewers, Neil Gaiman discovered him. The author tweeted Bradlee’s flying fingers to his millions-strong Twitter following. Within a week, Bradlee reports, “more people had seen that video than had seen me play live my entire life.”

Things went viral from there, affording Bradlee and the coalescing Postmodern Jukebox a receptive online crowd. Among Scott Bradlee & Postmodern Jukebox’s subsequent hits are a New Orleans-flavored take on Guns N’ Roses’ “Sweet Child o’ Mine” – 3+ million views; the “grandpa-style” reiteration of “Thrift Shop” – 6 million views; and “We Can’t Stop” – 10.5 million views. Media coverage, including the likes of “Good Morning America” and NPR, ensued.

How does he come up with this stuff? “A lot of pop songs are constructed of elements that lend themselves to a certain feel,” he points out. “The simple progression of the bass line in ‘Blurred Lines,’ for instance, reminded me of bluegrass. ‘Sweet Child’ sounds like an old blues song – the structure, the way the chorus repeats …” With Cyrus, it was more an instance of tongue-in-cheeky cultural criticism: “She’d gained all that notoriety from her 2013 VMA appearance. I had to recast her song for the ’50s, which everyone thinks of as this squeaky-clean era.”

Then there were the gifts from the pop-music gods, like Meghan Trainor’s #1 hit “All About That Bass.” Bradlee knew a musician-singer named Kate Davis. “I’d wanted to do something with Kate for a while,” he reveals, “but I was waiting for the right song to come along.” Check the PMJ video for “All About That Bass” and you’ll find Davis singing – and playing stand-up bass. If you do click there, you’ll be in good company: 3.5 million views and counting.

The mashup of Davis and Trainor is some good old-fashioned A&R. The repertoire Bradlee selects for PMJ’s vocal artists has furnished a platform for some very talented but previously little-known performers. And it’s not just the eyeballs afforded by YouTube; Bradlee provides an intuitive musical context for the singular gifts of these singers that allows them to be seen in a new light – it’s as if he’s somehow cracked the code to their essential appeal.

Take Puddles. “Last week, a seven-foot clown dropped by my apartment to sing an epic cover of Lorde’s ‘Royals.’ NBD,” Bradlee blogged in November of 2013. Puddles the Clown (née Michael Geier), frontman for Puddles Pity Party, is possessed of a dramatic baritone that has thrilled cabaret-goers for years – but it wasn’t until Bradlee asked Puddles to cover “Royals” in his signature style that he clicked with a mainstream audience. The reinterpretation of Lorde’s chart-topper, just one of Puddles’ collaborations with PMJ, has been viewed more than nine million times.

Discovering talent and knowing what to do with it is fundamental to the business of music. Bradlee is something of a postmodernist here, too, having achieved renown doing everything himself, mostly online, “with no budget” (i.e. using the recording equipment he’d had since college). His adherence to the DIY ethos also suggests the decidedly postmodern form of punk rock. “I was a struggling jazz pianist sitting in my basement apartment in Queens,” he attests, “but I just figured it out and made it happen.”

That said, punk rock is likely not top of mind for those attending a Scott Bradlee & Postmodern Jukebox show. The scene is more reminiscent of a speakeasy, with swells in vintage threads swilling Prohibition-era cocktails. “It’s a variety show, a musical revue featuring special guests,” Bradlee illuminates. “Coming to a PMJ show is like time-traveling back to Old Hollywood – it’s an experience.” Creating that for audiences appears to be PMJ’s ultimate mission.
http://postmodernjukebox.com/biography/

Add: So Gaiman was the big butterfly that flapped his wings with >2 million twitter followers.
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12-03-2014, 07:26 PM
Post: #13
RE: Postmodern Jukebox
Quote:That said, punk rock is likely not top of mind for those attending a Scott Bradlee & Postmodern Jukebox show. The scene is more reminiscent of a speakeasy, with swells in vintage threads swilling Prohibition-era cocktails. “It’s a variety show, a musical revue featuring special guests,” Bradlee illuminates. “Coming to a PMJ show is like time-traveling back to Old Hollywood – it’s an experience.” Creating that for audiences appears to be PMJ’s ultimate mission.

The speakeasy of yesteryear (yester-century?) was the first thing that came to my mind as I first listened to a few of the videos (not the one with Kate Davis, mind you). I'm particular about arrangements and given the time of year it is (hearing beloved Christmas songs done with ridiculously overblown arrangements), I will admit that some of those videos have not received the MAE "seal of approval" Tongue (specifically the '40's rendition of Stay With Me and the seven foot clown's histrionic approach to -- everything).

But I am impressed with his: a.) creativity; b.) versatility; and c.) the depth of that versatility. I also think that he could turn the way music history is taught on it's ear! Savvy music professors need to pay attention.
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12-04-2014, 11:23 AM
Post: #14
RE: Postmodern Jukebox
A Very Postmodern Christmas
https://itunes.apple.com/us/album/a-very...d947088838
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12-05-2014, 04:56 PM (This post was last modified: 12-05-2014 05:01 PM by john.)
Post: #15
RE: Postmodern Jukebox
Several of the PMJ covers feature saxophonist Dave Koz.

Quote:...Over the decades, the saxophone has opened numerous doors for Koz. He’s played with such artists as Burt Bacharach, Ray Charles, Natalie Cole, Celine Dion, Shelby Lynne, Kenny Loggins, U2, Barry Manilow, Michael McDonald, Luther Vandross and Rod Stewart. He’s become a platinum-selling artist with a star on the Hollywood Walk of Fame and is also known as a humanitarian, entrepreneur, radio host and instrumental music advocate...
http://davekoz.com/









Quote:Dave Koz
5 hours ago
I always have a blast making music with Scott Bradlee and #postmodernjukebox especially on this one! Check out this fun new video for #Christmas. Happy holidays! DK.




One more off his album "The 25th of December." Playing with Kenny G.


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12-05-2014, 07:43 PM
Post: #16
RE: Postmodern Jukebox
He just posted a BICO video on his FB. It features "our favorite song and dance team of Ashley Stroud & Alex MacDonald."

I've heard better.



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12-05-2014, 09:50 PM (This post was last modified: 12-05-2014 10:37 PM by john.)
Post: #17
RE: Postmodern Jukebox
(12-03-2014 07:26 PM)My Alter Ego Wrote:  The speakeasy of yesteryear (yester-century?) was the first thing that came to my mind as I first listened to a few of the videos (not the one with Kate Davis, mind you). I'm particular about arrangements and given the time of year it is (hearing beloved Christmas songs done with ridiculously overblown arrangements), I will admit that some of those videos have not received the MAE "seal of approval" Tongue (specifically the '40's rendition of Stay With Me and the seven foot clown's histrionic approach to -- everything).

But I am impressed with his: a.) creativity; b.) versatility; and c.) the depth of that versatility. I also think that he could turn the way music history is taught on it's ear! Savvy music professors need to pay attention.

Having watched a number of the PMJ videos (or in some cases, the beginning of the video) I find the offerings quite variable in their entertainment quotient. Some are OTT, like the clown thing and the Saturday Morning Slow Jams series (featuring tunes such as Teenage Mutant Ninja Turtles). Singing the phone book isn't necessarily going to be good no matter how much you change it up. Some of the arrangements/songs/singers work (Like this one Wink) and some don't. But even the sad clown Sad has almost ten million views on his Royals cover (and 85,000 likes).

To quote Linus Pauling (per Brainy Quote) "The best way to have a good idea is to have lots of ideas." With small production costs, one can put out all kinds of stuff then see what works by one's own judgment and by the popularity achieved with viewers/listeners. It's amazing what you can do in your apartment these days. Scott and PMJ are blazing more than one kind of trail in their efforts.

Scott is one of those who have used new media to gain an audience, which he is now leveraging in various ways. And here I am, hoping that Haley will perform with the PMJ -- to large extent just to broaden her exposure. Of course, I'd like to see her wow everyone in the process.
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12-06-2014, 11:53 PM
Post: #18
RE: Postmodern Jukebox
"'I was a struggling jazz pianist sitting in my basement apartment in Queens,' (Bradlee) attests, 'but I just figured it out and made it happen.'"

"'It’s a variety show, a musical revue featuring special guests,' Bradlee illuminates.'"

"Bradlee provides an intuitive musical context for the singular gifts of these singers "


(12-05-2014 09:50 PM)john Wrote:  To quote Linus Pauling: "The best way to have a good idea is to have lots of ideas." With small production costs, one can put out all kinds of stuff then see what works by one's own judgment and by the popularity achieved with viewers/listeners. It's amazing what you can do in your apartment these days. Scott and PMJ are blazing more than one kind of trail in their efforts.

He takes modern pop songs and pairs them with what worked in the past: musicality and talent.

Music labels try to pair things with what's popular today.

"Oh My!" - Haley Reinhart Ft. B.o.B

"Big Bang" - Nicki Minaj, Jessie J and Ariana Grande

"Bed Of Lies - Nicki Minaj Ft. Skylar Grey (just heard them on SNL)
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12-07-2014, 12:10 AM (This post was last modified: 12-07-2014 12:30 AM by midnightblues.)
Post: #19
RE: Postmodern Jukebox
DAW ( digital audio workstation ) Pro tools 11 it's a studio in your apt .Not that pricy $800 + but worth it. All ya need is a audio interface and your puter comes alive Smile make great in your basement recordings.
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12-08-2014, 11:57 AM (This post was last modified: 12-08-2014 12:56 PM by john.)
Post: #20
RE: Postmodern Jukebox
Most recent comments on Casey's video:
Quote:Johnathan Latham5 hours ago
[Image: photo.jpg]<---New fan!
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Aayanah Jackson14 hours ago
THIS WAS SO GOOD! I was smiling the whole time I was watching it, truly amazing you guys are so talented 

Brett Curry18 hours ago
Wooo
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Anna X1 day ago
Oh my freakin' gush!!!! Thats so damn AWESOME!!
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tinkerbell7161 day ago
This was so good, it made me clap out loud. Bravo! Bravo!
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Raina Tuakoi1 day ago
soooo goood!!!!!!
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Michelle P1 day ago
LOVE this! Casey is great! 
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May Melo1 day ago
Coolest cover I've ever seen! !
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