Jesse Abraham

Following a string of well-received mixtapes, NYC MC Jesse Abraham drops his debut EP, The One Day, once more letting loose his unique mash of antiquated traditional hip-hop with oblong matches, and cementing the style exhibited on his previous tapes such as Bars &NoBull and his collaboration, Alphabutter, with producer Spills. To introduce Jesse to strangers, I’ve used my best effort to put together something to make sense of things:

Imagine The Beastie Boys trio blended into a single entity, pumped full of 4 Lokos, and let loose with a humor-driven hip-hop philosophy built for spelling-out straightforward statements in every possible blend of Eyedea-esque (RIP) metaphors, similes, and non-sequiters that speak in completely slightly-understandable clarity and playful seriousness. If none of that makes sense, then you’ve caught the basic definition.

The EP comes off as immediately striking, with tracks like “Spiderman on Vitamins” and “Ridiculous” being built around what seems a single-string strum on a Japanese Shamisen, urban stomp-clap combos, Tabla drums, sitar, and Andes flutes, while others such as “One Day feat. Eric Sosa” and “Connections feat. Jeanette Berry” work with highly trance based arpeggios and organic drum, as well, in the case of “Connections,” Ace of Base style hooks. Set that to the side, and you’re left with a continual purge of the unexpected, meeting tracks such as the !llmind-produced “Play On” that carries a more modern feel, best exhibiting the comparison of his style to Eyedea or El-P, and “Figure It Out feat. Fresh Daily” which hits more on the metaphor-drugged philosophical side, asking the grand question of “What are we all here for?” in the hook.

Throughout The One Day EP, Jesse runs with a lyrical flow reminiscent of a slowed-down Fu-Schnickens and defibrillator-shocked Paid in Full Rakim that’s established on the opening bars of “Spiderman on Vitamins,” and is well-kept as the songs move along. Regarding lyrical talent, Jesse possesses a touch for humorous wordplay that implies purposelessness, though it seems the reverse, and his overall style seems somewhat of a neo-homage to hip-hop’s early beginnings. To give you an idea of Jesse’s rhyme style, here’s a few bars from the track “Figure It Out”: “Holler back, have some Challah I’ll have half, hallucinations in Holland, the holy holograph, Hallelujah, holidays they all go fast Holland days in Halibut are all just but a hologram…” ...I’m not even entirely sure that the transcription is spot on, but I think it exemplifies what I’m trying to explain here.

The jostling roll throughout The One Day EP is a difficult one to keep straight on, as the sound style switches throughout do their best to create a disorientation and vertigo effect, especially on a first listen. It’s nothing to aim at derogatorily, as Jesse’s a difficult one to judge when put into the usual definitions in hip-hop’s spectrum, and given the circumstance, the EP is more-so one of those figure it out for yourself collection of songs. There’s no doubt that a talent lies clearly in song, but the matter comes down to letting yourself try and understand it rather than simply brushing it off as absurd. Hit up his website jesseabraham.com to listen to his discography, and check back in, as I’ll be interviewing Jesse sometime here soon, either before or after SXSW. If you’re in the area, definitely catch his show in Austin.

Sumology: definitely worth a listen if you’re looking for something different; Jesse will be an interesting one to watch as his career continues. - Ology.com (Review by JT Langley)

Following a string of well-received mixtapes, NYC MC Jesse Abraham drops his debut EP, The One Day, once more letting loose his unique mash of antiquated traditional hip-hop with oblong matches, and cementing the style exhibited on his previous tapes such as Bars &NoBull and his collaboration, Alphabutter, with producer Spills. To introduce Jesse to strangers, I’ve used my best effort to put together something to make sense of things:

Imagine The Beastie Boys trio blended into a single entity, pumped full of 4 Lokos, and let loose with a humor-driven hip-hop philosophy built for spelling-out straightforward statements in every possible blend of Eyedea-esque (RIP) metaphors, similes, and non-sequiters that speak in completely slightly-understandable clarity and playful seriousness. If none of that makes sense, then you’ve caught the basic definition.

The EP comes off as immediately striking, with tracks like “Spiderman on Vitamins” and “Ridiculous” being built around what seems a single-string strum on a Japanese Shamisen, urban stomp-clap combos, Tabla drums, sitar, and Andes flutes, while others such as “One Day feat. Eric Sosa” and “Connections feat. Jeanette Berry” work with highly trance based arpeggios and organic drum, as well, in the case of “Connections,” Ace of Base style hooks. Set that to the side, and you’re left with a continual purge of the unexpected, meeting tracks such as the !llmind-produced “Play On” that carries a more modern feel, best exhibiting the comparison of his style to Eyedea or El-P, and “Figure It Out feat. Fresh Daily” which hits more on the metaphor-drugged philosophical side, asking the grand question of “What are we all here for?” in the hook.

Throughout The One Day EP, Jesse runs with a lyrical flow reminiscent of a slowed-down Fu-Schnickens and defibrillator-shocked Paid in Full Rakim that’s established on the opening bars of “Spiderman on Vitamins,” and is well-kept as the songs move along. Regarding lyrical talent, Jesse possesses a touch for humorous wordplay that implies purposelessness, though it seems the reverse, and his overall style seems somewhat of a neo-homage to hip-hop’s early beginnings. To give you an idea of Jesse’s rhyme style, here’s a few bars from the track “Figure It Out”: “Holler back, have some Challah I’ll have half, hallucinations in Holland, the holy holograph, Hallelujah, holidays they all go fast Holland days in Halibut are all just but a hologram…” ...I’m not even entirely sure that the transcription is spot on, but I think it exemplifies what I’m trying to explain here.

The jostling roll throughout The One Day EP is a difficult one to keep straight on, as the sound style switches throughout do their best to create a disorientation and vertigo effect, especially on a first listen. It’s nothing to aim at derogatorily, as Jesse’s a difficult one to judge when put into the usual definitions in hip-hop’s spectrum, and given the circumstance, the EP is more-so one of those figure it out for yourself collection of songs. There’s no doubt that a talent lies clearly in song, but the matter comes down to letting yourself try and understand it rather than simply brushing it off as absurd. Hit up his website jesseabraham.com to listen to his discography, and check back in, as I’ll be interviewing Jesse sometime here soon, either before or after SXSW. If you’re in the area, definitely catch his show in Austin.

Sumology: definitely worth a listen if you’re looking for something different; Jesse will be an interesting one to watch as his career continues. - Ology.com (Review by JT Langley)

[One Day] "My mom named me Jesse, Hebrew for emcee
Majestic since birth, quick as a jet ski"

And so begins the opening track on Manhattan-born Jesse Abraham's debut EP, coming on the heels of several 2010 mixtapes that garnered respect among the New York underground hip-hop community. It doesn't take long to realize that Abraham is not your typical emcee; one can probably count the number of white Jewish rappers on one hand. In no way, though, is this meant to suggest that he is unworthy of blessing the mic. Growing up during the golden age of hip-hop gave him a deep passion and appreciation for hip-hop and the culture that surrounds it, and these old-school influences can definitely be heard in his beats and rhymes. Simply put, Abraham has been a hip-hop head from day one (he claims to have written his first rhyme at the age of nine), and his understanding for the music itself allows him to come across as an intelligent and well-versed rapper.

The EP's main single is titled "Spiderman on Vitamins" (a name that is still a mystery to me) and features a funky acoustic guitar pluck over a heavy set of drums. Any doubts of whether Abraham can match the fast paced nature of the beat are put to rest 1:50 in, as he kicks it up a notch with a verse that showcases his impressive flow and lyrical dexterity. It's not often you hear a rapper spitting about his childhood memories from Hebrew school – whether it's chasing girls or questioning the idea of God – and "Spiderman on Vitamins" has a fresh and unique feel to that is hard to ignore. "Play On" also sees Abraham chronicle his grade-school exploits and later romantic endeavors, this time over a driving bassline and menacing piano with a high-pitched synth in the background. He isn't afraid to hold anything back as he spits about past failed relationships, rapping:

"If love is blind, then I was Helen Keller
Or Anne Frank, a cellar dweller
Afraid of independence, for years she seemed so heaven sent
But it was evident that merriment was missing"

Abraham continues to flaunt his skills on the mic on "I Wanna Hear Y'all," as he effortlessly spits tongue twisting lines such as:

"I'm improper like a fraction with friction
I'm magic with diction
I'm practically flipping phonics backwards
Rippin' and robbin', rockin' and rollin', stoppin' and strollin'
My rhymes got you pausing often like commas and colons"

At this point, it may seem as if Jesse Abraham can do no wrong, but unfortunately this is not the case. While he does a good job switching his flow up to keep things from growing monotonous, his voice and delivery are simply not well-suited for some of the more hardcore tracks on the EP, such as "Written While Sittin' on a Hammock," and "Figure It Out." And while he does have a knack for spinning stories, there are a few times where it seems as if Abraham is too concerned with showing off his speedy delivery by merely stringing together words that rhyme , rather than taking his time and slowing things down with more meaningful lyrics.

There are still certainly a number of bright spots, though, especially when it comes to instrumentals. "Connections" has a more new-school sound than the rest of the album, with a set of pop/R&B synths driving the track, but remains true to the EP's roots with hard-hitting drums, and a flowing grand piano and a chorus from Jeanette Berry give the track almost a majestic feel. "One Day" features a raw, old-school drum loop over an electronic-esque sample that sounds like a high-pitched electric piano sped all the way up, making for an interesting contrast that allows Abraham's flow to shine through. On the other hand, "Life Is A Free Throw (Remix)" has a much more upbeat feel, with strings and a simple guitar loop to complement a deep bass, and is one of the catchiest tracks on the EP.

The bottom line is that "One Day" is a solid effort from an up-and-coming New York underground emcee, nothing more and nothing less. There are times when Jesse Abraham seems like a pro on the mic, and there are times where his delivery fades and his lyrics grow repetitive and tedious. If nothing else, it's interesting to hear his background and unique perspective as a rapper incorporated into his lyrics, and this alone makes his debut EP worth checking out. And given the old-school feel of a number of tracks, those looking to resurrect the golden age should at least give a cursory listen to the "One Day" EP.

Music Vibes: 7 of 10 - RapReviews.com (as reviewed by Mike Baber)

[One Day] "My mom named me Jesse, Hebrew for emcee
Majestic since birth, quick as a jet ski"

And so begins the opening track on Manhattan-born Jesse Abraham's debut EP, coming on the heels of several 2010 mixtapes that garnered respect among the New York underground hip-hop community. It doesn't take long to realize that Abraham is not your typical emcee; one can probably count the number of white Jewish rappers on one hand. In no way, though, is this meant to suggest that he is unworthy of blessing the mic. Growing up during the golden age of hip-hop gave him a deep passion and appreciation for hip-hop and the culture that surrounds it, and these old-school influences can definitely be heard in his beats and rhymes. Simply put, Abraham has been a hip-hop head from day one (he claims to have written his first rhyme at the age of nine), and his understanding for the music itself allows him to come across as an intelligent and well-versed rapper.

The EP's main single is titled "Spiderman on Vitamins" (a name that is still a mystery to me) and features a funky acoustic guitar pluck over a heavy set of drums. Any doubts of whether Abraham can match the fast paced nature of the beat are put to rest 1:50 in, as he kicks it up a notch with a verse that showcases his impressive flow and lyrical dexterity. It's not often you hear a rapper spitting about his childhood memories from Hebrew school – whether it's chasing girls or questioning the idea of God – and "Spiderman on Vitamins" has a fresh and unique feel to that is hard to ignore. "Play On" also sees Abraham chronicle his grade-school exploits and later romantic endeavors, this time over a driving bassline and menacing piano with a high-pitched synth in the background. He isn't afraid to hold anything back as he spits about past failed relationships, rapping:

"If love is blind, then I was Helen Keller
Or Anne Frank, a cellar dweller
Afraid of independence, for years she seemed so heaven sent
But it was evident that merriment was missing"

Abraham continues to flaunt his skills on the mic on "I Wanna Hear Y'all," as he effortlessly spits tongue twisting lines such as:

"I'm improper like a fraction with friction
I'm magic with diction
I'm practically flipping phonics backwards
Rippin' and robbin', rockin' and rollin', stoppin' and strollin'
My rhymes got you pausing often like commas and colons"

At this point, it may seem as if Jesse Abraham can do no wrong, but unfortunately this is not the case. While he does a good job switching his flow up to keep things from growing monotonous, his voice and delivery are simply not well-suited for some of the more hardcore tracks on the EP, such as "Written While Sittin' on a Hammock," and "Figure It Out." And while he does have a knack for spinning stories, there are a few times where it seems as if Abraham is too concerned with showing off his speedy delivery by merely stringing together words that rhyme , rather than taking his time and slowing things down with more meaningful lyrics.

There are still certainly a number of bright spots, though, especially when it comes to instrumentals. "Connections" has a more new-school sound than the rest of the album, with a set of pop/R&B synths driving the track, but remains true to the EP's roots with hard-hitting drums, and a flowing grand piano and a chorus from Jeanette Berry give the track almost a majestic feel. "One Day" features a raw, old-school drum loop over an electronic-esque sample that sounds like a high-pitched electric piano sped all the way up, making for an interesting contrast that allows Abraham's flow to shine through. On the other hand, "Life Is A Free Throw (Remix)" has a much more upbeat feel, with strings and a simple guitar loop to complement a deep bass, and is one of the catchiest tracks on the EP.

The bottom line is that "One Day" is a solid effort from an up-and-coming New York underground emcee, nothing more and nothing less. There are times when Jesse Abraham seems like a pro on the mic, and there are times where his delivery fades and his lyrics grow repetitive and tedious. If nothing else, it's interesting to hear his background and unique perspective as a rapper incorporated into his lyrics, and this alone makes his debut EP worth checking out. And given the old-school feel of a number of tracks, those looking to resurrect the golden age should at least give a cursory listen to the "One Day" EP.

Music Vibes: 7 of 10 - RapReviews.com (as reviewed by Mike Baber)

Born and raised in Manhattan, but now living in Brooklyn, Jesse Abraham has a lot more than just “emcee” on his creative resume. He’s a published writer, accomplished poet, tried his hand at stand up comedy, and he co-founded Hartman Tutoring, a Manhattan-based tutoring company where he is currently the managing director. While doing all these things, however, music kept calling. Last year Abraham decided to start going all out with his music, and with the exception of a horrific near death incident (that you can read about here, because I wasn’t about to ask him to relive it again), he’s been unstoppable. Abraham, teaming with Spills, recently released the Alphabutter project, and on February 16th he’ll be coming out with his own mixtape titled XS. With each project he does Abraham always makes sure to follow his three rules of making music, “Rule #1: Don’t bite. Rule #2: Be dope. Rule #3: Always progress.” This week I caught up with Abraham to find out more about his work, his life, and what he hopes people are saying about him behind his back.

Adam Bernard: Tell me a little bit about your history. Give everyone an idea of some of the things that helped shape you growing up.
Jesse Abraham: When I was a kid I didn’t generally fit in with a lot of the kids I was surrounded by because all I cared about was hip-hop, basketball and Michael Jackson, and in the 1980’s this was not very normal for a 4’2” freckle-faced kid who went to the Rodeph Sholom Hebrew Day School. At the same time I didn’t really fit in with my friends who I played ball and listened to EPMD with, because I was a 4’2” freckle-faced kid who went to the Rodeph Sholom Hebrew Day School. I was a somewhat unique kid – break dancing at the age of four, rocking baggy clothes when I was seven or eight, waaayyyy before it was “in style,” I started shaving designs in my head by the time I was ten, and it was all real to me, because that was what I grew up around and that was what I first gravitated towards. I was being true to myself, even though from the outside looking in it might not have appeared that way.

Adam Bernard: You recently dropped the Alphabutter project with Spills. What were your goals for this, musically, when you started putting it together?
Jesse Abraham: Alphabutter was an album that in many ways hoped to reflect the organic, joyful manner in which the material it came to life. We had a deadline due to the fact that Spills was headed to Cambodia right around New Year’s, so we pumped out as much material as possible, smiling. We wrote and arranged most of the tracks in a two week span at Spills’ apartment in Bed-Stuy surrounded by friends and family, dogs and bottles, lighters and vegetables. Although as emcees we both have a more serious side to us, this project is meant to be a celebration and an adventure. The other artists involved are good friends of ours, so the entire experience is coated in music’s mucilaginous mayhem. Alphabutter is a manifestation of family-based love and passionate energy. It’s universal, and it brings us together. That’s what this album did for us, and it’s what we hope it can do for its listeners as well.

Adam Bernard: How did you originally link up with Spills?
Jesse Abraham: Picture the scene: I’m walking from the Myrtle-Willoughby G train stop over to some “studio” where I’m gonna meet a dude named Spills and possibly record some stuff. I had just met his fiancé a few days earlier and she urged me to come by to work with him/them. I walk into their house not knowing what to expect, just ready to rhyme when asked to, and I’m welcomed by Angelo opening the door a crack and saying, “I have a dog! Ignore the dog! He’ll eat your face!” Spills was setting up his 34 lb. microphone in the middle of their living room. We said whatup and the beats started playing. Moments later some friends of theirs walked in and found themselves chilling in the midst of the infantile stages of Alphabutter’s creation.

Adam Bernard: That’s really dope, and Alphabutter has some great music on it, including a remix to “Double Time” that features Pete Colon, Warren Britt, Cav, Premonition, Top $ Raz and Dyalekt. What about each of these artists do you feel makes them a unique voice on the track?
Jesse Abraham: I was so excited to get each one of these superb artists involved on the album, and to have them all on one track was phenomenal. Spills and I actually had verses of our own recorded for this remix, but we chose to remove our parts in order to let these dudes take the shine 100%. I had never heard Pete Colon spit before, but Spills was adamant about getting him involved so I was more than happy to oblige. I think he comes with a great flair for interesting rhyme schemes and I really loved his cadence on that track. Everyone knows Warren Britt for his energy, but I view Warren as a really gifted lyricist with an amazing knack for imagery. He said, “making volcanoes vomit” and “shootin pool with the planets.” - Adam Bernard

Born and raised in Manhattan, but now living in Brooklyn, Jesse Abraham has a lot more than just “emcee” on his creative resume. He’s a published writer, accomplished poet, tried his hand at stand up comedy, and he co-founded Hartman Tutoring, a Manhattan-based tutoring company where he is currently the managing director. While doing all these things, however, music kept calling. Last year Abraham decided to start going all out with his music, and with the exception of a horrific near death incident (that you can read about here, because I wasn’t about to ask him to relive it again), he’s been unstoppable. Abraham, teaming with Spills, recently released the Alphabutter project, and on February 16th he’ll be coming out with his own mixtape titled XS. With each project he does Abraham always makes sure to follow his three rules of making music, “Rule #1: Don’t bite. Rule #2: Be dope. Rule #3: Always progress.” This week I caught up with Abraham to find out more about his work, his life, and what he hopes people are saying about him behind his back.

Adam Bernard: Tell me a little bit about your history. Give everyone an idea of some of the things that helped shape you growing up.
Jesse Abraham: When I was a kid I didn’t generally fit in with a lot of the kids I was surrounded by because all I cared about was hip-hop, basketball and Michael Jackson, and in the 1980’s this was not very normal for a 4’2” freckle-faced kid who went to the Rodeph Sholom Hebrew Day School. At the same time I didn’t really fit in with my friends who I played ball and listened to EPMD with, because I was a 4’2” freckle-faced kid who went to the Rodeph Sholom Hebrew Day School. I was a somewhat unique kid – break dancing at the age of four, rocking baggy clothes when I was seven or eight, waaayyyy before it was “in style,” I started shaving designs in my head by the time I was ten, and it was all real to me, because that was what I grew up around and that was what I first gravitated towards. I was being true to myself, even though from the outside looking in it might not have appeared that way.

Adam Bernard: You recently dropped the Alphabutter project with Spills. What were your goals for this, musically, when you started putting it together?
Jesse Abraham: Alphabutter was an album that in many ways hoped to reflect the organic, joyful manner in which the material it came to life. We had a deadline due to the fact that Spills was headed to Cambodia right around New Year’s, so we pumped out as much material as possible, smiling. We wrote and arranged most of the tracks in a two week span at Spills’ apartment in Bed-Stuy surrounded by friends and family, dogs and bottles, lighters and vegetables. Although as emcees we both have a more serious side to us, this project is meant to be a celebration and an adventure. The other artists involved are good friends of ours, so the entire experience is coated in music’s mucilaginous mayhem. Alphabutter is a manifestation of family-based love and passionate energy. It’s universal, and it brings us together. That’s what this album did for us, and it’s what we hope it can do for its listeners as well.

Adam Bernard: How did you originally link up with Spills?
Jesse Abraham: Picture the scene: I’m walking from the Myrtle-Willoughby G train stop over to some “studio” where I’m gonna meet a dude named Spills and possibly record some stuff. I had just met his fiancé a few days earlier and she urged me to come by to work with him/them. I walk into their house not knowing what to expect, just ready to rhyme when asked to, and I’m welcomed by Angelo opening the door a crack and saying, “I have a dog! Ignore the dog! He’ll eat your face!” Spills was setting up his 34 lb. microphone in the middle of their living room. We said whatup and the beats started playing. Moments later some friends of theirs walked in and found themselves chilling in the midst of the infantile stages of Alphabutter’s creation.

Adam Bernard: That’s really dope, and Alphabutter has some great music on it, including a remix to “Double Time” that features Pete Colon, Warren Britt, Cav, Premonition, Top $ Raz and Dyalekt. What about each of these artists do you feel makes them a unique voice on the track?
Jesse Abraham: I was so excited to get each one of these superb artists involved on the album, and to have them all on one track was phenomenal. Spills and I actually had verses of our own recorded for this remix, but we chose to remove our parts in order to let these dudes take the shine 100%. I had never heard Pete Colon spit before, but Spills was adamant about getting him involved so I was more than happy to oblige. I think he comes with a great flair for interesting rhyme schemes and I really loved his cadence on that track. Everyone knows Warren Britt for his energy, but I view Warren as a really gifted lyricist with an amazing knack for imagery. He said, “making volcanoes vomit” and “shootin pool with the planets.” - Adam Bernard

I’m not saying that giving your new song an eye-catching title like Spiderman on Vitamins will guarantee a feature on DJBooth, but it doesn’t hurt. Although we had never featured Brooklyn newcomer Jesse Abraham before, we couldn’t help but listen to Spiderman on Vitamins, and once we pressed play we found a creatively-flowing, unstoppably original emcee that we were fascinated to find out how DJBooth nation would react to. Spidey’s beat comes courtesy of Spills, who combines a shaky string section with sharp claps and heavy bass to form a backdrop for Abraham to do his expansive lyrical work on, and work he does, dropping references on everything from, of course, Peter Parker (“Crawling!”) to his early days as a Hebrew school troublemaker. Will DJBooth embrace this record like a long-lost lover, or like a cactus? There’s only one way to find out – get to commenting below people. Those in the former camp should keep an ear out for Abraham’s upcoming album The One, which will be released in January of 2011.

Read more: http://www.djbooth.net/index/tracks/review/jesse-abraham-spiderman-vitamins/#ixzz0yZcfs03I - DJBooth.net

I’m not saying that giving your new song an eye-catching title like Spiderman on Vitamins will guarantee a feature on DJBooth, but it doesn’t hurt. Although we had never featured Brooklyn newcomer Jesse Abraham before, we couldn’t help but listen to Spiderman on Vitamins, and once we pressed play we found a creatively-flowing, unstoppably original emcee that we were fascinated to find out how DJBooth nation would react to. Spidey’s beat comes courtesy of Spills, who combines a shaky string section with sharp claps and heavy bass to form a backdrop for Abraham to do his expansive lyrical work on, and work he does, dropping references on everything from, of course, Peter Parker (“Crawling!”) to his early days as a Hebrew school troublemaker. Will DJBooth embrace this record like a long-lost lover, or like a cactus? There’s only one way to find out – get to commenting below people. Those in the former camp should keep an ear out for Abraham’s upcoming album The One, which will be released in January of 2011.

Read more: http://www.djbooth.net/index/tracks/review/jesse-abraham-spiderman-vitamins/#ixzz0yZcfs03I - DJBooth.net