Take Five with pianist, composer Itamar Dahan

Meet Itamar Dahan

Itamar Dahan is a Brooklyn-based jazz pianist, composer, and producer originally from Israel. Known for his deeply lyrical style and bold harmonic language, he has performed with legendary artists including NEA Jazz Master Reggie Workman, Billy Hart, Omer Avital, and David Broza. A graduate of The New School's Jazz program on a full scholarship and a multiple-time recipient of the prestigious America-Israel Cultural Foundation (AICF) award, Itamar has quickly established himself on both the performance and production scenes. He's played at top venues like Smalls Jazz Club, Minton's Playhouse, Ornithology Jazz Club, and The Cutting Room, and has produced music for rising stars such as TALI (Eurovision 2024) and Libi Panker, whose tracks received national radio play. His work bridges acoustic tradition with forward-thinking production, making him a versatile voice in today's jazz world.

Instrument

Piano

Teachers and/or influences?

Oscar Peterson, Bill Evans, Aaron Goldberg, Brad Mehldau, Joshua Redman, Mulgrew Miller, and Benny Green. I'm also influenced by non-jazz producers like Timbaland, Tennyson and Julian Bunetta.

I knew I wanted to be a musician when...

When I was growing up, every Friday evening my family would gather around the piano and sing together—Israeli songs, traditional melodies, and piyutim. Even as a kid, I would sit at the piano and do my best to follow along. Those moments were the most powerful and connected I ever felt, and that's when I realized music wasn't just something I loved—it was part of who I am.

Your sound and approach to music.

I believe music should always tell a story. For me, melody and groove are the core of everything—they're the heart of the music, and the most important elements. If the groove is there, everything else falls into place.

Your teaching approach

I believe every student is different and requires a personalized approach. Some students just want to enjoy playing songs and having fun with music, while others are serious and aim to make it their profession. My teaching adjusts to fit the student's goals and personality. I don't believe in putting people down—I focus on identifying their weaknesses and helping them grow from there.

Your dream band

Drums: Eric Harland, Bass: Christian McBride, Saxophone: Joshua Redman, Trumpet: Roy Hargrove. That mix of energy, soul, and creativity would be a dream to play with—pure fire on stage.

Road story: Your best or worst experience

I remember when I was 16, I traveled to Germany to perform with a big band. That trip ended up being memorable for more than just the music—it was also the first time I got drunk. A few friends and I drank two liters of beer and ended up laughing and stumbling around. It was wild, fun, and one of those moments you never forget—not the most professional story, but definitely a real one.

Favorite venue

Smalls Jazz Club, NYC. Tight stage, real listeners, serious energy.

Your favorite recording in your discography and why?

Looking Into Your Soul, a duet album I recorded with Avinoam Ettun. He composed all the pieces, and we didn't even have time for rehearsals—we just showed up and recorded. No click, no edits—just two people listening deeply. Playing Avinoam's music alongside him is always a special experience.

What do you think is the most important thing you are contributing musically?

Bridging cultures—bringing my Israeli background into American jazz, and blending acoustic jazz with modern production in a way that feels honest and fresh.

Did you know...

Lately, I've been listening to more mainstream pop and r&b than jazz—which has never happened to me before. It's a surprising shift, but it's opening up new ideas and sounds for me.

Music you are listening to now:

Benny Green: These Are Soulful Days (Blue Note, 1999)
Tony Bennett & Bill Evans: The Tony Bennett/Bill Evans Album (Fantasy, 1975)
George Shearing: My Ship (Concord Jazz, 1994)
Amber Mark: Three Dimensions Deep (EMI, 2022)

What are some of the essential requirements to keep jazz alive and growing?

I think we need more real interaction with the audience. Sometimes, instead of trying to play fast and complicated, we should focus on playing something simple and beautiful. To me, jazz is one of the most beautiful art forms in the world—but too often, it feels like some musicians turn it into a chaotic cluster of notes that don't connect emotionally. Keeping jazz alive means making sure it still speaks to people's hearts.

What is in the near future?

I think it's time for me to start working on my own music. I have a few pieces I've been holding onto that I really want to share with the world, and I feel like now is the right moment to finally do something with them.

What is your greatest fear when you perform?

Losing presence—playing notes instead of telling a story.

What song would you like played at your funeral?

That's a tough question to think about, but I'd choose "Young and Foolish" from the Tony Bennett and Bill Evans album. There's something incredibly tender and honest in that version that feels like a fitting farewell.

By Day:

I produce music during the day, perform at night, and teach from time to time—music is my day job and my night job.

If I weren't a jazz musician, I would be a:

I'd probably be an accountant in the tech world—or maybe a psychologist. Something totally different, but still about understanding patterns or people.

If I could have dinner with anyone from history, who would it be and why?

Ludwig van Beethoven. I'd love to meet someone who wrote some of the most emotional and powerful music ever, while being completely deaf. I'd want to ask him how he kept going and how he "heard" the music in his mind... though now that I think about it, I might need to brush up on my sign language first.

If I could go back in time and relive an experience, what would it be?

The parting of the Red Sea. Just imagine standing there as the water split in two—one of the most dramatic and powerful moments ever. I'd love to witness that kind of miracle with my own eyes.

What's a non-musical habit that helps your playing?

Working out. I think there are so many similarities between music and fitness, especially when it comes to discipline, routine, and pushing through resistance. Just like practicing an instrument, training your body takes consistency and focus.

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