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Though he is now a concert attraction with a diminishing tether to jazz, Collier's early success came entirely on YouTube, through a series of videos in which he demonstrates, explains or otherwise exemplifies musical arrangements of Byzantine complexity but pop-friendly affect. Much truer to the spirit of viral jazz is the musician who fully inhabits a given platform, allowing it to inform their creative process - for a point of comparison, someone like the jazz-conversant polymath Jacob Collier, a harmony and rhythm savant par excellence. Like the amiably effervescent guitarist Julian Lage, whose YouTube videos routinely amass not only beaucoup page views but also a bloom of awestruck commentary, Joy is an irrepressible talent harnessing modern means toward traditional ends. Joy has proven adept at delivering snackable digital content, but the core of her musical appeal - as I've recently experienced it in club and festival settings, and on her fine new album, Linger Awhile - rings familiar, even conservative, in its basic contour. Neither for that matter is someone like the breakout vocal star Samara Joy, despite her heavy traction on TikTok. (A typical upload from last year transplants Dua Lipa's "Levitating" to the loamy soil of 1920s hot jazz - good for 3.7 million views and counting.) Bradlee, a run-of-the-mill lounge pianist, brings little more than glib pastiche and showy juxtaposition to his franchise he's cranking out indisputably viral jazz videos, but he isn't making viral jazz. The Postmodern Jukebox formula, in the event that you've been fortunate enough to avoid it, features blockbuster pop hits dipped in a fondue pot of smarmy anachronism.
To that end, I wouldn't apply the term to, say, the insufferable outflow of Scott Bradlee's Postmodern Jukebox, which has racked up more than 1.8 billion YouTube views on a channel with some 5.8 million subscribers. For the next few weeks, they'll be flooring young crowds across the country on an 18-city tour.īy my own reckoning, "viral jazz" describes an aesthetic rather than a set of quantifiable viewer metrics. Paak's unprintably named label, APES*** INC., and the venerable Blue Note Records - were ubiquitous on the jazz festival circuit this summer, while managing to squeeze in a Tiny Desk concert. DOMi & JD Beck - who recently released their debut album, NOT TiGHT, through an alliance between Anderson. But there's a set of natural assumptions to be made here, including the idea that even as viral jazz plays by its own rules, the style (if one can call it a style) has been bleeding over into mainstream jazz discourse (if one can call it jazz). Taking to Twitter, he wrote: "latest subgenre: 'viral jazz'," adding a parenthetical: "(I don't think the term exists, but the music definitely does)." Iyer, who comes into regular contact with developing musicians at the conservatory level, took care not to name names or issue value judgments, then or since.
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At this disorienting moment in our age of digital exchange, they can sometimes seem like the only ones who've gleefully cracked the code.Ī few months ago, pianist and composer Vijay Iyer coined a good handle for this new musical phenotype. Like him, they're known for jaw-dropping technical ability, jazz-inflected genre fluidity and an irreverent yet allusive savvy regarding image and platform. Many of these musicians have at least a tangential connection to Thundercat, the bassist and falsetto warbler whose interstellar jazz-R&B has been a defining Brainfeeder trademark. Together with virtuoso oddballs like MonoNeon, an electric bass whiz and vocal funkateer, and DOMi & JD Beck, a sly keys-and-drums duo repping mayhem in the rhythm matrix, Cole stands at the center of a cohort whose identifying traits are easy to recognize and harder to define. He's been a major player in the musical online attention economy for the better part of a decade, as a solo act and as one-half of Knower, with singer-songwriter and producer Genevieve Artadi. But that doesn't mean you're immune.Ĭole is a stupefyingly proficient multi-instrumentalist, singer, producer and trickster whose bracing new album, Quality over Opinion, releases this Friday on Brainfeeder.
Now, if your answer to the prompt is "What the hell are you talking about?" - then congratulations, you don't appear to have been seriously exposed.
What's your favorite dance move from the " I'm Tight" video by Louis Cole? Perhaps you're partial to the simplicity of the "RIDLEY SCOTTZ," or its more kinetic variation, the "STEPPIN' RIDLEYZ." Or maybe you're more of a conceptual "HEIMLICHZ" type. Here is a litmus test for anyone looking to gauge their exposure to viral jazz.
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