|Photo credit: Matt Furman
Who is Abiah? These are the bare facts: he is a seasoned balladeer possessed of a five-and a half octave range; an established vocal coach and former Universal Republic recording artist; and he is of Ghanaian, Cuban, Native American descent, though raised in Rochester, NY.
While that background remains a part of his roots and identity, 2012 marks a musical, professional and personal evolution for the singer-songwriter. Previously known as “Jeremiah” in the music world (full name Jeremiah Abiah, the latter of which means ‘God is my father’), Abiah sets forth his highly anticipated sophomore album, Life as a Ballad, reflective of a long journey towards his intensely personal sound and overall musical growth – consisting of nine self-penned originals.
Growing up in a musical home – his mother an accomplished concert pianist – induced a love for learning about the nuances of the singer’s art and craft that found him studying at the Eastman School of Music as a young teen where he studied with legendary chanteuse Renee Fleming’s mother, Patricia Alexander. Afterwards came enrollment at Syracuse University and The New England Conservatory for operatic training. Abiah‘s pre-undergraduate obligations were completed while on the road, where he quickly found work as a backing vocalist for George Michael and while in college he also landed a steady gig with Yolanda Adams.
“There was a moment when I thought I had lost my voice. “I was experiencing growing pains which were hard to decipher at first but eventually they helped me to trust my heart, sound and aesthetic again. I thought I would never record again. I even toyed with the idea but the music perpetually tugged at me. Changing my stage name was the impetus of a new beginning,” says Abiah in a news release. “This is how Life as a Ballad was born as I dealt with the idea of finding beauty in the dark, that glimmer of light when all hope seemed lost.”
“I’m not opposed to major labels. I just believe an artist needs to keep his finger on the pulse of everything. It’s hard to be artist and business, but it is necessary,” says Abiah. “Initially I was angry and came out pointing fingers, but the healthier aspect became, what did or didn’t I do? Taking that responsibility has given me power and greater perspective.”
This recording is the result of Abiah‘s steady and patient march over a decade in New York, finding the perfect songs and session mates to support his vision. Like any astute young artist in pursuit of a unique bespoke career path, Abiah wisely sought out collaborators who were of highly skilled and veteran pedigrees, and of course, simpatico. Notable among those collaborators are very well regarded young pianist Robert Glasper, who is Abiah‘s cousin who he met in earlier days while they cut their musical teeth in the New York’s music landscape. Marvin Sewell, the album’s stellar guitarist, has been a frequent flyer in Cassandra Wilson’s ensemble since the late 1990s as well as Jack DeJohnette.