JAZZIT
. . . . On the other side of the world from Keith Jarrett’s angular melodies are the instrumental constructs of keyboardist Sam Barsh, who left the employ of Avishai Cohen to (in his words) “chisel down” his prodigious technique and pursue his own projects. The first of those is the funky, lighthearted, and completely beguiling I Forgot What You Taught Me (on Cohen’s record label, RazDaz). Barsh has smartly mixed pop rhythms, cutting-edge production, vamps inspired by hip-hop harmonies, and jagged shards of smooth jazz, and arrived at a sort of 21st-century “bubblegum jazz.” I use that term as an analogy to the bubblegum pop music of the 60s, but not as a pejorative: the sweetly irresistible hooks and repetitive loops may draw us in, but we probably wouldn’t stay long without the carefully layered sonic landscapes and occasionally displaced rhythms. I Forgot What . . . reveals Sam Barsh as a stylistic descendant of Eddie Harris, another artist who believe that funk and intellect need not be opposing forces.
-Neil Tesser
Really cutting edge, a very promising young pianist.
-Cassandra Wilson
Barsh is one of the most thoroughly original keyboardists I've heard in years; an incredibly brisk breath of fresh air.
-Nathaniel Friedman, contributor to The Philadelphia Enquirer, AllAboutJazz.com and Jazziz
One of the most
freakishly talented, tasteful and fresh-sounding newcomers today."
-Philip DiPietro,
allaboutjazz.com, in his list of Top Eight Sidemen of 2005
"Pianist with
the gift of groove"
-Nate Chinen,
New York Times
The Parker-penned "Mannerisms" and "Beanstalk" groove
with the fluidity of the finest recipe from the George Benson cookbook,
while a phenomenal rendition of Marvin Gaye's "When Did You Stop
Loving Me, When Did I Stop Loving You" showcases the guitarist's
interplay with the Fender Rhodes licks of new jam partner Barsh.
-Ron Hart, Billboard.com
Barsh's beautiful and at times commanding playing gives The Relatives
a retro vibe, while still pushing an agenda of forward thinking jazz.
-popmatters.com
A pure pleasure is the slightly distorted Fender Rhodes playing of Sam
Barsh, who ably follows the credo "make a Chick Corea noise here,"
while still bringing enough of his own musical personality to the dinner
table to make his playing resound.
-Jeff Miers The Buffalo News
Jeff
Parker -- a great guitarist who stays busy without ever wearing out his
welcome, and in fact leaves us wishing for more straighter jazz-oriented
records like this one! This set for Thrill Jockey improves on his solo
debut Like-Coping, which he recorded for Delmark, most notably with the
addition of Sam Barsh to the group on Rhodes and Wurlitzer.
-dustygroove.com
...while on the title track
Barsh conjures up a shimmering, humid glaze from the keyboards in a manner
that fondly recalls Herbie Hancock's Sextant.
-Matthew Murphy, Pitchforkmedia.com
WESTERN GAZETTE
Following the overwhelming success of last year's performance at the Bridport Arts Centre, renowned jazz musician Avishai Cohen, his amazing double bass, and his even more amazing young band, returned to wow the crowd with the world premier of his new album, At Home.
Avishai played every part of his instrumment, incorporating his intricate pickings, moody bowing and percussive slaps and taps.
His band - Mark Guiliana on drums and Sam Barsh on keys, both still in their early 20s - stolel the show with their fantastic talents.
And Barsh - the epitome
of jazz - filling the room with Avishai's silky melodies and complex solos
on piano and Fender Rhodes, before dancing around the room clicking his fingers
and playing his melodica.
DOWNBEAT MAGAZINE November 2006
This is a superbly controlled record, balancing the booming ego in Avishai Cohen's bass lines with the diligent niceties of Sam Barsh's baroque-infused piano and Amos Hoffman's oud added for dramatic effect on half the tracks. The group is locked in that some may look in vain for seams, but the preplanning and immaculate playing doesn't choke the sense of risk. This is sustained by rhythmical tension built into the compositions and acute role-play. On 'One for Mark' Barsh introduces the off beat and has a distinct metronomic function that remains throughout his counterpoint release passages, allowing Hoffman and Cohen to attack their instruments with contrasting aggression.
The dramatic sleeve art depicts Cohen running in a desert landscape. Where from? To where? Clearly, however, he has found a musical heaven. Thus a track called 'Emotional storm' misfires as such, though it is an intriguing mixture of impeccable equilibrium and a gear-shifting groove. The Oud lines seem to have more connection with West Africa Kora lines than Arabic music.
The exciting 'Smash' boasts rock bottomed but unpredictable time, with Cohen flashing Jaco Pastorius chops on electric bass, Barsh mirroring acoustic piano with keyboard lines and drummer Mark Guiliana getting a chance to kick up some desert dust. Cohen wanted a programmatic feel redolent of classical music strategies with this album, and he has succeeded without snuffing the spark.
JAZZ TIMES
The dynamic “Feediop” opens the show, with Cohen pumping the tempo and Yosvany Terry shimmering on soprano sax. Sam Barsh plays a lush, flowing piano solo while drummer Mark Guiliana keeps the pulsing vibe going. “Madrid” expands the playing field for the first time, including newcomers Anne Drummond and Tomer Tzur on flute and hand drum, respectively, plus Diego Urcola on flugelhorn and Jeff Ballard on percussion. The ensemble continues on the African-influenced “Leh-Lah,” a splendidly arranged tune where Barsh augments his piano with a melodica and Terry plays chekere.
“Renouf’s Last Tooth” is a tour de force, with Cohen’s percolating bass, Barsh’s dazzling piano work, and Guiliana’s impassioned thrashing on the drums. Then there’s the delicate, symphonic brass/wind combo on “Gershon Beat,” where Cohen again plucks front and center. The lamenting, dolorous, slow trio piece “No Words” is followed up immediately by the uptempo “Punk (DJN),” which features more excellent piano by Barsh. On the funk excursion gem “Saba,” Cohen picks up the electric ax and Barsh plays the organ. This tune unfolds gradually from the deliberate theme and the tension builds up to a vibrant burst of colors. Cohen practically sings through his guitar, Barsh growls, Guiliana hammers the drums, and Terry plays more wicked soprano. Cohen wrote or co-wrote all of the songs here, and the excellent arrangements and wonderful playing make At Home a feast for the ears.