Sam Barsh is someone I think you should know, if you don’t already. He is among those rare musicians who have played a key role in many different collaborations and whose unique personality has contributed to some of the most successful new artists in Jazz and Hip-Hop. Barsh is a stellar musician with a very strong and distinct musical character - traits that are surprising to find in a sideman rather than a solo artist. He did at one point pursue a solo career and has put out several original albums as a leader, but eventually felt that his true calling is to be a songwriter, producer and instrumentalist and to help others shine with his talents. His work can be heard on such prominent albums as Avishai Cohen’s Continuo, Anderson Paak’s Malibu, Kendrick Lamar’s To Pimp a Butterfly and Aloe Blacc’s Lift Your Spirit.

When I listen to Sam Barsh’s original music and piano playing, I feel that his musical language is very melodic and personal, that it touches on a very universal and accessible place. In my opinion, one of the things that all great pop songs have in common is a strong and clear melody, one that does more than just get stuck in your head. A good melody stays with you and keeps living and evolving, suggesting new things and painting a big picture, and is fun to listen to over and over again.

Here is a track that came out a few years ago as a single, called Clydesdales and Castles:

I have certainly listened to Clydesdales and Castles many times, and only recently decided to finally break it down and transcribe it for the blog. It was not easy, as is usually the case with transcribing a piano part from a track that has bass and drums, but the tune’s inner logic helped with getting through most of the fuzzy parts. Songwriting, improvising, grooving and playing in many musical styles make this a transcription worthy of study and exploration. Hope you enjoy it, see you in the next one!