It would be impossible to give an incisive review of composer/ recording artist Lee Abramson’s music without giving a bit of back-story on his life and creative process. This 36 year-old musician received a BA in Psychology from the University of Michigan before moving to Austin, Texas to pursue his musical aspirations. During that time he played bass in a rock and roll band for three years. Things changed however, in February of 2005 when he was diagnosed with ALS (Lou Gehrig’s disease). Although he began to lose his mobility and went from using a cane to a walker to a wheelchair, he never lost his interest in music.
Despite his disability, Lee has managed to create music using a unique, although painstaking method. Utilizing a computer and music notation software he is able to compose using one finger and a touch pad. There is also a video on his rumimusic.com website showing screenshots of the software in action along with him explaining in detail how this process works. The amount of time and effort required to create music by this means is incredibly extensive and his patience and perseverance are inspirational.
Thematically, Lee’s album is based on the poetry of the well-known 13th century Persian mystic Rumi, whose writings of spirituality and love have continued to inspire those seeking deeper meaning in life throughout the ages. Collaborating with vocalist Abigail English, he has set the words of Rumi to his own brand of laid-back electronic music in what he describes as “mystical downtempo: Enya meets the Whirling Dervishes.” Downtempo is a sub-genre of ambient music that is mellow and atmospheric but with chilled out or “downtempo” grooves and beats.
While the lyrics may be from the distant past, Lee’s music is very contemporary in style and features complex layers of electronic textures, synthesizers, piano, bass, and percussion supporting the ethereal female vocals along with a little help from his friends on electric piano and guitar. He has put a lot of attention to detail and it shows. It was fascinating to watch on his video how he goes to great lengths, modulating the velocity of individual notes, to bring a more human and less mechanical feel to all these computer generated sounds.
The first track opens as a richly orchestrated piece with a march-like cadence providing solid ground for the reverberant female vocals to soar over. Electric piano and a guitar/harpsichord-like sound fill in the melodic background. This is also the first place of many that features some cool digital manipulation of the female vocals – an effect that is popular in contemporary music. The Indian tabla drums that come in at interludes are a nice touch. A surprising evolution into a reggae groove in the last movement completes the piece. The next two songs explore a jazzy funky terrain – complete with sax and flute sounds.
Another element of Lee’s style is felt on track four, “The Rose Is Gone”. A loopy electronic beat and Strawberry Fields-like calliope sound give this song a psychedelic carnival feel. Different sonic elements coming in and out of the mix add to the atmosphere. The carnival train picks up steam on the next song – a trippy extended groove that reminded me at times of a Grateful Dead jam. On this song and on “Love”, the last tune on the CD, Lee adds his own voice to the mix. To do this he relies again on technology to add a cyber-assist to his voice, which is limited by his physical condition. A software program allows him to translate the lyrics into speech that sounds like his voice, although with an electronic edge similar to that heard in some techno music. A vocoder adds to the spacey vocal effects. Also available for viewing on his rumimusic.com website are a number of mind-bending music videos featuring visionary art and special effects that a friend of his created to go with Lee’s music and are a perfect compliment to his sound.
Lee has a unique compositional style. Some of his chord changes and progressions have this “out there” feel that takes the listener in unexpected directions. There’s an interesting blend that incorporates some of the vibe of late 60’s experimental music with more contemporary electronica. One of my favorite tunes is “Beauty Of The Heart”, which brings together an electro beat, sleigh bells, exotic percussive sounds, and an infectious electric piano riff punctuated by funky clavinet. If I were picking a song to choose as the single off the album, this might be the one.
It is hard not to be inspired by the creative efforts of this uniquely talented musician who has managed, despite great adveristy, to produce a recording such at this. In spite of the fact that most patients with ALS do not live more than five years after being diagnosed, Lee explains his longevity by saying, “God was just giving me time to focus on my music.”
Review by Michael Diamond
