| Seattle, Washington -- WildLife, Gary Paul Bryant's 10th | | | | unprecedented selection of genres and styles. |
| CD, is quickly climbing jazz and world music charts, | | | | Tech-savvy songwriters willing to adapt to the new |
| airing on more than 100 radio stations from Australia to | | | | medium found that making a living through music was |
| Europe to the U.S. and topping 120,000 streams and | | | | no longer an unlikely dream. Bryant's affinity for |
| downloads in recent weeks on alone. Yet, you've | | | | technology soon moved him from acoustic pianos and |
| probably never heard of him. | | | | guitars to music workstations, sampling software and |
| Recording from his home studio north of Seattle, | | | | digital distribution. |
| Washington, Bryant reflects an evolving reality of | | | | "What really made it interesting for artists is that, in |
| today's music industry, where artists who take | | | | addition to all of the recording and performance gear |
| advantage of new technology can build dynamic | | | | going digital, support services like CD production, digital |
| careers outside the mainstream. | | | | distribution and promotion were adapting to the |
| "People are surprised to find that you can have a | | | | technology in a big way," said Bryant. One such |
| strong international fan base and a satisfying career | | | | company, CDBaby.com, founded in 1997 by musician |
| operating in your own niche, a bit below the pop culture | | | | Derek Sivers, has paid more than $80 million directly to |
| radar," said Bryant. | | | | artists. |
| After an early experience with the traditional corporate | | | | Bryant's first album, Just a Word, was digitally |
| recording industry, Bryant began marketing and | | | | remastered and released as an anniversary edition in |
| publishing his own material in the 1980s, a time when | | | | 2004. Seattle Times music critic Patrick MacDonald |
| producing an album on your own could cost as much | | | | summed it up: "Exceptional piano work!" |
| as buying a house and marketing meant hauling | | | | In May 2005 came Imaginary Piano, a high-energy |
| hundreds of vinyl albums to radio stations and retail | | | | collection of jazz motifs, followed by a collection of |
| outlets. | | | | original and classic Christmas piano solos, Midnight |
| Then came the 1990s with new recording technology | | | | Clear. |
| and, of course, the Internet. Music web sites like iTunes, | | | | Melding power rock with jazz and classical music, his |
| Rhapsody and Napster gave musicians access to | | | | 2007 project, Big World, reached the No. 1 Jazz spot |
| worldwide audiences and gave fans an | | | | at SoundClick. |