Sam Yahel Albums (6)
What The Critics Say
Jazz organists who have also been proficient on the acoustic piano comprise a long list, which makes sense when one considers that many of them learned the piano before they made the organ their primary instrument. But that doesn't necessarily mean that the public will get a chance to hear what they sound like on the piano; in fact, the vast majority of Hammond B-3 icons who emerged in the 1950s and 1960s never played the piano on any of their albums even though they were no doubt quite capable of doing so. Shirley Scott was an exception; although best known for her organ playing, she also did her share of recording as a pianist. And similarly, organist Sam Yahel puts his pianistic skills to work on Hometown. Yahel doesn't play any organ at all on this 2009 release; Hometown is strictly a piano album, and Yahel forms a cohesive acoustic trio with bassist Matt Penman and drummer Jochen Rueckert. This 2009 release demonstrates that Yahel's personality as a pianist isn't radically different from his personality as an organist. Yahel has always had an appreciation of the funky as well as the cerebral, and that holds true on Hometown -- which has its occasional moments of churchy, down-home soulfulness but is a complex, intellectual post-bop effort more often than not. On his organ albums, Yahel has acknowledged Jimmy Smith's funkiness at times even though he is stylistically closer to Larry Young's post-bop; similarly, Yahel brings traces of Gene Harris' soulfulness to Hometown, but more often than not favors post-bop complexity. Although one might think of Harris or Ray Bryant on the gospel-tinged opener, "Jealous Guy," things are much more cerebral on "My Ideal," "Moonlight in Vermont," and other selections. Hometown isn't an exceptional album, but it's certainly a solid one -- and it demonstrates that Yahel shouldn't neglect the acoustic piano. ~ Alex Henderson, All Music Guide
'Jazz Side of the Moon: Music of Pink Floyd'
Release Date 2/26/2008
Tracks 9
Label Chesky
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What The Critics Say
As pianist Brad Mehldau mentions in his lengthy and well thought-out liner notes, organist Sam Yahel, tenor saxophonist Joshua Redman and drummer Brian Blade each have the ability to sound like themselves no matter what the setting or the dominant style. Yahel is one of the most original organists of his generation for even when his tone recalls Jimmy Smith, his choice of notes does not. Redman and Blade also have original sounds and the three have played together on numerous occasions, often under the saxophonist's leadership. On Truth and Beauty, they perform six of Yahel's originals and three obscurities including Ornette Coleman's challenging "Check Up" and Paul Simon's relatively lightweight but lyrical "Night Game." Redman and Yahel blend together particularly well, with the ensembles logically leading to the solos and lots of close interaction. While none of the individual originals have memorable themes, the set of complex post-bop has a definite charm that grows ~ Scott Yanow, All Music Guide
'In the Blink of an Eye'
Release Date 11/23/1999
Tracks 8
Label Naxos
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What The Critics Say
For his third CD, organist Yahel brings back guitarist Peter Bernstein, drummer Brian Blade (see Trio on Criss Cross) and percussionist Kahlil Kwame Bell, who plays percussion on two tracks. There's much more going on under the surface than initially meets the ear, and that's the beauty of Yahel's concept. He's stealth and lurking in underground caves, searching for light and finding mine shafts of pure gold, with the always capable and melodic Bernstein a veritable beacon of energy and soul. Yahel wrote two of these eight selections. The title track is based on a Chopin etude, a darker waltz that quickens in the middle, and there's also "So Long," with Bell starting off on a tango rhythm and going to sultry samba a la Ivan Lins' "The Island." Yahel selects such oft-neglected standards as the changed-up swinger "I Believe In You" and the much more familiar "Spring Is Here," with Blade's jungle toms and Yahel's swelling organ informing Bernstein's patient guitar on this classic balladic melody. "Like Someone in Love" sports a swirling, circular motion before going into the melody in 5/4 time, with 5/8 inserts. The astute listener will clearly hear how clever this is. More modern standards are the Freddie Hubbard evergreen "Little Sunflower," a very laid-back, tight bossa with Bell's prismatic colorations freshening this steamy take, while McCoy Tyner's "Inception" is light, bright and quick, with Bernstein's kinetic line, Yahel's expansive chords, and both on fire for their solos. Bernstein contributed his spontaneous piece "Just a Thought," a midtempo swinger replete with traces of "We'll Be Together Again." If there is a latter-day organist upholding the spirit of Larry Young in terms of stretching the groove as well as orchestral and harmonic possibilities, it's Yahel. He's only scratching the surface as a composer, but as a performer he's right there. Recommended. ~ Michael G. Nastos, All Music Guide
What The Critics Say
At age 27, Yahel is clearly one of the most promising new organists on the New York City & international scene. As a possible walker in Larry Young's shoes, he displays a definite orchestral concept. Sounds seethe and swell, expanding beyond the envelope; he's got that telltale, after-midnight-blue depth of expressionism. Wild drummer Brian Blade and witty guitarist Peter Bernstein give much more than a mere modicum of fuel for Yahel's imagination -- they kick him into fourth and fifth gear during these eight tracks, three written by the organist himself. Two standards appear here. The first, "Never Will I Marry," has Yahel leading the melody while Blade fires up the cauldron with embellished rhythms that run outside of the straight beat, and Bernstein's guitar chords lead to tasty, bluesy solo lines. The second, "A Nightingale Sang in Berkeley Square," finds Yahel introducing by himself on this emotion-drenched ballad, charcoal tracing from similar regret-filled themes as "I Remember Clifford" and "Polka Dots & Moonbeams." Slight grease from Bernstein's lead guitar girds Ray Brown's bluesy, soulful sweet classic "Gravy Waltz." The Bernstein-penned "Blues for Bulgaria" has an easy, steady groove with Yahel's organ setting up the guitar's melody and Blade's drums swirling around -- this one has potential at becoming a sprightly standard. Yahel's three compositions include the waltz "The Gambit" marked with varying key changes and Bernstein nicely linking the styles of Wes Montgomery and Grant Green. "Short Returns" is a cool swinger with guitar-organ unison melody -- one of rare quantity on the CD. "And Then Some" is a very fragmented, 7/4 funk groove, -- quite contemporary and virile; it's as compelling as any cut on the disc. Though this is an entry point, it's an intriguing one for Yahel, a thinking man's organist. This album is easily recommended. ~ Michael G. Nastos, All Music Guide
What The Critics Say
Sam Yahel's debut release as a leader is a promising one for fans of the Hammond B-3. The 25-year-old organist understands, respects, and commands the full capability and power of his instrument. He builds his sound from within the tradition, while developing a distinctive, personal approach. The young organist has a cleanly articulated style that has more in common with Larry Young and Shirley Scott than with Jack McDuff or John Patton. His pedal work is understated, the bass tones coming to the forefront only on Eric Alexander's "Block," the closest Yahel comes on Searchin' to playing a stomping, bugaloo number. The album's best tracks are the five where Yahel works in a trio with guitarist Peter Bernstein and drummer Joe Strasser, notably Jobim's "Double Rainbow," the artist's own "Hymn For Her," and the ballad standard "Never Let Me Go." If ballads are the true measure of a jazz musician, then his playing on "Never Let Me Go" ranks him as an up and coming master. Strasser's deft brush work and Bernstein's subtle shading around the changes with single notes and partial chords complete this accomplished group performance. Tenor player Eric Alexander complements the core trio well on four tracks. He has a crisp, confident style that calls to mind Joe Henderson and Joe Lovano. On the other hand, trumpeter Ryan Kisor's warm-toned, legato style is not entirely at home in this setting. Searchin' establishes Yahel as an important player. He has the tools to allow him to open up his performances, to explore other, as yet unrevealed or undiscovered facets of his musicianship, and to chart new developments on the Hammond. The next chapters will be worth watching for. ~ Jim Todd, All Music Guide
