Scott Bradlee & Postmodern Jukebox

I was recently introduced to the musical ensemble Scott Bradlee & Postmodern Jukebox (PMJ), by way of a You Tube video of one of their more popular offerings: a jazzified version of the Meghan Trainor hit All About That Bass. Band leader, arranger and pianist Scott Bradlee's premise is simple: take current pop hits and re-imagine them in various pop genres of the past century. And for the most part it works extraordinarily well. PMJ's offerings make two things abundantly clear: first, that pop music, no matter the era, is incredibly elastic and adaptable (Bradlee's observation). The second is that your average pop star today isn't very talented, or more to the point, there are incredibly talented musicians and singers out there who never get a chance because the music industry is more about style, spectacle and shock, and not so much about music.

Yes, the idea of post modernism does play a part here: there is a clear ironic twist to the proceedings. When Jason Derulo's Talk Dirty is redone as a Jewish, Fiddler on the Roof style folk song you know that you're not supposed to take it all too seriously. PMJ's collaborations with cabaret singer Puddles the Clown (Michael Geier) are the height of genre bending bordering on parody. Their version of Lorde's Royals, is superior to the original in terms of arrangement, phrasing and overall emotional punch. But in the video, done in PMJ's minimalist, one camera format (until recently taped in Bradlee's bare white living room), Puddles gently mugs and gestures, indicating a disconnect between his rich and expressive baritone and his "this is a big put on" demeanor (as if performing in full sad clown suit and make up isn't the first hint).

In a way it's too bad, because these guys and gals are really talented. Robin Adele Anderson, Cristina Gatti and Ashley Stroud, regulars who rotate on vocals, all have great voices and know how to work a song. PMJ also features a wide variety of guest musicians and vocalists. Kate Davis, who sings and plays the upright bass on I'm All About That Bass, takes an over glorified novelty song and offers a playful, nuanced performance. In doing so she and Bradlee transform something base and obvious into something sly and almost innocent. A New Orleans Jazz version of the Guns 'N' Roses rocker Sweet Child O' Mine, sung by Miche Branden captures the bombast of the original, with textured horns and vocals, that once again, bring out emotions beyond what the contemporary Pop-Rock genres are capable of. PMJ mine what are too often vacuous lyrics for all their emotional worth, making the words sound like they mean more than they really do. I get it, that's the point: but like with Puddles the Clown, their talent raises these performances above mere parody, making me wonder what they could do with more worthy material.

I could go on, but it's better to listen to this original, fun and impossibly entertaining musical conglomeration.