Vintage Postmodern Jukebox

Vintage Postmodern Jukebox

DEC

15

Darwin Playhouse Theatre | Darwin NT, Australia
Astor Theatre | Perth WA, Australia
Astor Theatre | Perth WA, Australia
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When New York City pianist Scott Bradlee created Postmodern Jukebox out of a basement in Queens in 2011, his goal was simple: to remake the pop hits of today into the classic sounds of the legends of yesterday. Miley Cyrus became The Platters. Bruno Mars became Frank Sinatra. The Spice Girls became The Andrews Sisters. Guns ’n’ Roses became Bessie Smith.

Now, nearly a decade later, Postmodern Jukebox has grown to become a pop culture mainstay in its own right, having played over a thousand shows on six continents worldwide — including acclaimed venues like Radio City Music Hall, Sydney Opera House, and Red Rocks Amphitheater. In the process, PMJ has introduced audience to many of the world’s greatest singers, dancers, and instrumentalist — many of whom have gone on to become stars in their own right.

One part celebration of vintage music and culture, one part “’Saturday Night Live’ for singers”, a Postmodern Jukebox show is an unforgettable trip back in time that makes Pop Music History — in your own hometown.

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Vintage Postmodern Jukebox Radiohead Cover ft. Haley Reinhart - Creep

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خیلی باحال بود به خاطر اینکه راحت آدم میفهمه چی میگه 🥀🔥💎❤️

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postmodern-jukebox-scott-bradlee.jpeg
Piano man Scott Bradlee, at center, is the creative brain behind Scott Bradlee & Postmodern Jukebox, a musical collective that gives songs of the moment a vintage treatment. (Scott Bradlee & Postmodern Jukebox)
When bandleader Scott Bradlee arrived in Prague as part of a European tour, he found a sold-out audience of 800 people waiting, many of them outfitted in vintage costumes — flapper dresses and attire from the 1940s.
To Bradlee, the getups are par for the course. Known on the web as that guy who makes new music sound old, the pianist — who grew up in Hunterdon County — is the frontman and creative mind behind Scott Bradlee & Postmodern Jukebox , a collective of musicians and singers that gives songs of the moment a retro gloss. Responsible for a litany of viral videos, the group has gained a reputation for covers that wow.
But this is nowhere near your average cover band. Because the goal isn't imitation — it's reinvention. Bradlee's specific approach summons what he calls "an alternate universe where the songs of today were actually written half a century ago." His story is one of music appreciation — a love for very old oldies — but also forward-thinking music marketing.
Each of Bradlee's covers — whether a Motown rendition of Taylor Swift's "Shake it Off" or a "bluegrass hoedown" version of Nicki Minaj's "Anaconda" — involves bold genre-bending. The 33-year-old piano man writes new arrangements for existing songs that seamlessly implement a different style, if not an earlier decade. Every reimagined track is released with a music video in which the band dons genre-specific clothing. Wardrobe picks often involve spiffy suits, sparkling gowns and flapper fringe. For the bluegrass treatment, some went barefoot.
Bradlee grew up in Pattenburg, a part of Union Township in Hunterdon County. He attended piano lessons, but wasn't all that motivated until he heard George Gershwin's "Rhapsody in Blue" when he was 12. The sound intrigued him since it injected "jazz and ragtime sensibilities," he says, into a classical template.
Now based in Los Angeles for a residency with his band in West Hollywood, Bradlee spoke by phone about his Jersey roots.
"I had this interest in all this music from the 1920s and 1910s," he says. "Ragtime and early jazz." Songs in the Top 40 weren't of much interest to him when he could go to the library to check out cassettes and try to mimic the sound on his piano. Later, at the University of Hartford, Bradlee studied jazz performance and music management.
He began experimenting with the vintage-pop approach at gigs in New Jersey, playing in a ragtime style with fellow Hartford alumni in the band The Sesha Loop at venues including Hoboken's now-defunct Whiskey Bar. In 2006, Bradlee moved to New York City where he paid the bills playing piano at weddings and jazz clubs. Three years later, in a bid to engage an online community ripe for covers, he tried uploading his own.
"When I started on YouTube it was really a necessity," he says. Bradlee ventured into the digital space with a ragtime medley of '80s hits that included a jovial take on Journey and Bon Jovi.
"People really ate it up," he says. "Within hours the writer Neil Gaiman had tweeted it. It was life-changing in the way that it got me to think about a different way to get music out there to the public."
Last February Bradlee posted a ragtime cover ("grandpa style") of Macklemore & Ryan Lewis' "Thrift Shop" — one Bradlee included in "Ragtimify," his e-book piano course. The spare video, in which Bradlee's fingers nimbly hop around his keyboard as band members pluck a bass, tap a drum and slickly serenade, has amassed nearly 6 million views.
Many media outlets have noted Postmodern Jukebox's viral videos. But unlike any number of memes, Bradlee's band of time travelers has proven to be no one-off.
When Bradlee and company infuse bubblegum pop and universally known hits with a new tone, the songs get an entirely fresh sound, even if the style in question is plucked from the early years of the recording industry. Britney Spears' "Womanizer" performed as a 1940s torch song. Ellie Goulding's "Burn" in the style of '60s girl group , with a flame-o-phone (saxophone that shoots flames) accompaniment. A sultry "Jessica Rabbit" version of Blackstreet's 1996 hit "No Diggity."
Postmodern filmed all of its videos at Bradlee's apartment in Astoria, Queens ("The most we've ever done in a day was four," he says. "That was intense."). That is, until noise complaints forced him out — maybe it was that one extended tap-dance solo that put the landlord over the edge, Bradlee says.
Hence the name of Postmodern Jukebox's upcoming tour: "Eviction Tour 2014." The retro coalition comes to New York's Best Buy Theater on Oct. 20 and will swing by Philadelphia's Theatre of Living Arts on Oct. 26.
It was Postmodern's first European tour this past summer, Bradlee says, that proved its internet fandom knew no borders.
"We were like rock stars over there," he says. "They knew every video. It was really cool to see."
Postmodern Jukebox's retro covers have landed the group a residency at Hyde Sunset Kitchen in West Hollywood and another tour. (Courtesy of Scott Bradlee Productions)
The band's most popular creation has been a 1950s doo-wop take on Miley Cyrus' "We Can't Stop."
Robyn Adele Anderson, Bradlee's girlfriend and Postmodern's frequent vocalist, wears cat-eye sunglasses in the video as she croons, the Tee-Tones, an a cappella group, at her side. In the time since Sept. 3, 2013, when Bradlee uploaded that video to YouTube, the retro interpretation has drawn 10,565,442 views.
"This past year was kind of the year of the cover," Bradlee says. "It just works on YouTube. It's something familiar."
The Miley video landed Postmodern Jukebox a spot on "Good Morning America" and a fair amount of exposure.
"This is a real thing," Bradlee remembers thinking. "We have something here." From there he developed a live show and took the band on tour. Postmodern's latest album, a Mud Hut Digital self-release called " Historical Misappropriation ," came out on Sept. 2. It's still on Billboard's jazz chart , alongside Tony Bennett, Lady Gaga and John Coltrane. A Christmas album is on the way.
While Bradlee works with a large pool of artists, recurring band members include singers Cristina Gatti and Ashley Stroud, bass guitarist and bassist Adam Kubota and drummers Allan Mednard and Chip Thomas.
Saxophone star Dave Koz got in on a 1930s jazz version of "Careless Whisper" by Wham! ... and a smooth jazz cover of the "Game of Thrones" theme . Singer-songwriter Miche Braden lent her powerful pipes to a jazz cover of "Livin' on a Prayer," while Kate Davis, a young vocalist and bassist, applied a Billie Holiday feel to Meghan Trainor's chart-topper in "All About That [Upright] Bass."
Proving Bradlee truly appreciates a throwback of any kind, in 2010 he uploaded a sepia-toned, silent movie-style clip of "Jersey Shore." And a Kickstarter appeal he made successfully funded an album titled " A Motown Tribute to Nickelback " (really). Bradlee also presides over a sub-genre of Postmodern Jukebox called "Saturday Morning Slow Jams," an outfit that trades in nostalgia of the TV variety. In April, the group's R&B slow jam version of the theme from "DuckTales" went viral.
While Postmodern Jukebox's sound may look back, the band's last year could portend a bright future.
In September, Postmodern performed at the Streamy Awards, which honors online video (its doo-wop cover of Pitbull and Ke$ha's "Timber" was nominated for best cover). The collective recently relocated to Los Angeles for a residency at Hyde Sunset Kitchen in West Hollywood, where every Wednesday through December they perform as part of a "speakeasy party." Bradlee's ultimate goal: to dream up an old-timey variety show and fashion himself a modern-day Lawrence Welk.
"I get a lot of high school kids coming to me saying, 'I never really thought about listening to jazz,'" he says. But it's clear some important names in the music industry are listening, too.

Lorde, who heard Postmodern's "Sad Clown with the Golden Voice" version of "Royals" — fronted by a 7-foot clown named Puddles "with a voice like Tom Jones," says Bradlee — said it was her favorite cover of the song. Meghan Trainor also tweeted about Postmodern's recent "All About That Bass" cover.
"It's cool to get them involved," says Bradlee. "It's kind of like a pop culture event."
On Facebook, a certain pop diva gave a ringing endorsement to Bradlee's big-band remake of another song.
"Love this cover!" said none other than Beyonce, upon hearing Postmodern's swinging rendition of "Drunk in Love."
Even "surfbort," it seems, can be taken back in time.
Where : Best Buy Theater, 1515 Broadway in New York; (212) 930-1950. Also the Theatre of Living Arts, 334 South St. in Philadelphia; (215) 922-1011.
When : Oct. 20 in New York (16 and older only) and Oct. 26 in Philadelphia (all ages). Doors 7 p.m. for both shows.
How much : $25 plus fees in New York, $23 plus fees in Philadelphia; visit postmodernjukebox.com or tickets.turnupgroup.com/eventperformances.asp?evt=24 .
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