Summation Weekly May 20 2015

Application to mail at Periodicals Postage Rates is Pending in Pensacola, FL

This Community Newspaper is a weekly publication of Escambia Santa/Rosa Bar Association Page 1 Vol. 15, No. 20 VISIT THE SUMMATION WEEKLY ONLINE: www.esrba.com May 19, 2015

4 Pages

Jukebox Hero By: Josh Newby

If you’ve never heard of Postmodern Jukebox, you’re missing out.

More than simply covering or remixing songs, the group—lend by musician Scott Bradlee and featuring a rotating group of background instrumentalists and singers—takes identifiable and highly contagious pop songs and completely deconstructs them before reconstructing them into jazzy versions of themselves. “We Can’t Stop” by Miley Cyrus becomes a doo-wop number; “Thrift Shop” by Macklemore transforms into flapper jazz; Sam Smith’s “Stay With Me” is now a big band standard. You get the idea. And Bradlee has taken that idea and remixed dozens of songs. DTC spoke with Bradlee about his upcoming show at Vinyl and about how he turned the music industry upsidedown with crowdsourcing technology and a little musical know-how.

Tell me about how Postmodern Jukebox started.

When I was in high school, I really enjoyed ragtime, jazz and older styles of music. I gravitated toward that for whatever reason as a pianist. You can imagine that my friends weren’t as into ragtime as I was.

They liked Nirvana, Stone Temple Pilots and other music of that era. To relate to them, I would take those type of songs and translate them into jazz. So it’s something I’ve been doing since high school. It just took many years to find the right people to turn this into a full-fledged show.

Do you have a music background outside of teaching yourself piano?

I was self-taught on piano. I worked as a jazz pianist for many years. I went to college for music and came out, moved to New York City, and intended to become a jazz pianist. I found that it was really tough to find work. It was a pretty competitive field; there weren’t many well-paying gigs. I also felt like the audience had been left behind. It’s kind of esoteric; normal people don’t really understand it. I wanted to reach more people. Things worked out around that time that YouTube was taking off and people were finding success by putting these passion projects on YouTube. I did the same and lucky for me my first couple of videos went viral. (Continue Page 3)

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Escambia/Santa Rosa Bar Office 216 S. Tarragona Street, Suite B Pensacola, FL 32502 Publisher Escambia/Santa Rosa Bar Association Published Weekly At: 216 S. Tarragona Street, Suite B. Pensacola, Florida 32502 Phone: 850-434-8135 Fax: 850-436-8822 Email: esrba@esrba.com Website: www.esrba.com Office Hours Monday - Thursday 8:00 A.M. - 4:00 P.M. Friday 8:00 A.M. - 2:00 P.M. Application to mail at periodicals Postage Rate is Pending at Pensacola, FL Subscription Rates $20/ year ( All ESRBA Members) $22.50/ year (Escambia/Santa Rosa/ Okaloosa County Non-Members) $27.50/ Year ( Other counties within Florida & All other States NonMembers) Postmaster Send Address Changes To: The Summation Weekly 216 S. Tarragona Street, Suite B Pensacola, Florida 32502

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by Escambia/ Santa Rosa Bar Association.

ADDRESS UPDATES McDonald Fleming Moorhead announces its relocation to: 127 South Palafox Street, Unit 500, Pensacola, Florida 32502; and 719 South Palafox Street, Pensacola, Florida 32502.

The firm’s office at 127 South Palafox will include attorneys Stephen Moorhead, Belinda de Kozan, Katie White, and John Kuder, together with their respective support staffs. The firm’s office at 719 South Palafox will include attorneys Edward Fleming, Todd Harris, Bill Bond, Matt Bush, and Preston Forshee, together with their respective support staffs. Bruce McDonald will practice from both locations. Michael Ferguson remains of counsel to the firm and his mailing address will be 719 South Palafox, Pensacola, Florida 32502.

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Jukebox Hero (Continued) How do you feel about YouTube becoming a viable medium for emerging artists?

One of the key things about our development was that this project was so niche and special that no record label in their right mind would take a chance on it. Now of course, they’re all interested, but normally they take something that’s already successful and make it more successful.

YouTube is a great way for people to pursue something different. I recommend anyone trying to get out there and do something different, explore YouTube and other digital options first.

How do you choose what songs to reconstruct?

I like to pick songs that are familiar to a lot of people. If you’re familiar with a song and you’ve lived with hearing it one way, hearing it in a completely different context and a completely different light is a cool experience. I like that light bulb moment, where people will recognize it’s a song they know but it’s doo-wop.

How long does it take you to transform a song?

It varies. Some stuff is right at my fingertips. Because of the way I learned piano, which is by ear, I’m able to hear things kind of quickly and pick them apart.

Sometimes I’ll have an idea right away. But like any good project, it’s all about collaboration. I’ll bring in different people and someone will have a good idea and we’ll incorporate that into the arrangement. It’s a fluid process. Sometimes we completely transform a song in just a few hours. But there are other times where we have to tinker with it for a week before figuring out the right way to do it.

How do you decide who to collaborate with?

Sometimes it’s happy accidents where somebody tweets me a video of them performing one of our songs. I’ll be blown away and invite them to do a video with us. We’ve had people reach out and send things, but there’s also been times when I’m in New York or LA and I’ll see someone performing live music that I think can really capture an era.

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