In the bustling New York City jazz landscape, saxophonist, composer, and bandleader Inbar Solomon is emerging as a distinctive new voice, bringing a fresh, personal energy to the bebop tradition. Leading a sextet of the city’s most versatile young musicians, Solomon writes specifically for their individual voices, prioritizing groove, clarity, and a direct emotional connection with his audience. His warm tone and relaxed swing reflect a deep commitment to the jazz lineage, while his arrangements continually balance musical challenge with listener comfort.
We sat down with Inbar to discuss his focus on storytelling, the dynamics of ensemble interaction, and his philosophy on creating accessible, honest music.
Where are you from?
I’m originally from Tel Aviv, Israel, and I’m now based in New York City, where I lead my jazz sextet and continue developing my work as a saxophonist, composer, and bandleader.
How long have you been making music?
I’ve been making music for most of my life. I started playing saxophone when I was 8 years old, and over the years it grew into a full commitment that eventually brought me to New York to study, perform, and develop my voice as a bandleader and composer.
How many songs /albums have you released to date?
I haven’t released an official album yet. Right now my main focus is developing my sextet’s sound, performing original music around New York, and preparing the material that will become my debut recording. The project is growing quickly, and the upcoming album will be the first document of this group’s identity.
Can you tell us about your latest release and the background and inspirations behind it?
My latest releases are a series of live recordings with my sextet, captured during performances in New York. These recordings reflect the core of the project, which is rooted in the bebop tradition but driven by original writing and ensemble interaction. The material was inspired by the musicians in the band, and each arrangement was shaped around their individual voices. These live sessions document the energy and spontaneity of the group, and they represent the foundation for my upcoming debut album.
How did you first get into music, and what inspired you to pursue a career in it?
My musical journey started when I was nine, when I was required to take recorder lessons in school. To my surprise I loved it, and I practiced constantly. Eventually my teacher told my mom I had perfect pitch, something we didn’t fully understand at the time, but it motivated me to keep going. Not long after, he showed me a saxophone for the first time, and I knew instantly that it was the instrument for me. For years I practiced without really knowing what jazz was, until some friends introduced me to Charlie Parker. Hearing Bird for the first time completely changed my perception of the saxophone and made me want to be part of that tradition. The moment I truly decided to pursue music as a career came during my first live performance. The energy of the audience, the excitement of playing, and the realization that I could actually be paid for something I loved was eye-opening. From that night forward, I knew this was the path I wanted to follow.
What do you think of the present music industry?
The music industry today is challenging, but it is also full of opportunity. On one hand, it is harder than ever to stand out, and the focus on quick, viral content can make it difficult for deeper, long-form art like jazz to get attention. But on the other hand, independent artists have more control than ever. You can record, release, and build an audience without waiting for a label, and live music still creates real connections that no algorithm can replace. For me, the goal is to use the tools that exist today while staying committed to the tradition, the craft, and the community that make jazz meaningful.
Who are some of your biggest musical influences and how have they impacted your music?
Some of my biggest influences come directly from the musicians I’ve been lucky to work with. In New York, Chris Byars has had the strongest impact on me. working with him shaped the way I think about arranging, composition, and writing for a band, and a lot of the sextet’s sound comes from concepts I learned from him.
On the saxophone, Charlie Parker has always been my foundation. Everything in my playing leads back to Bird. Beyond him, the bebop masters like Bud Powell, Barry Harris, Dizzy Gillespie, and Elmo Hope have guided my musical approach for years. Their language and spirit are what I try to continue, interpret, and expand within my own writing and improvising.
What have been some of the biggest challenges you’ve faced as a musician and how have you overcome them?
One of the biggest challenges I’ve faced is simply finding my own voice while growing up inside such a strong tradition. Jazz, especially bebop, carries a huge history, and it can be intimidating to figure out how to honor it without just copying it. The way I’ve worked through that is by focusing on writing for specific musicians, building a sextet sound that reflects the people in the band rather than trying to imitate anyone else.
Another challenge has been navigating the realities of being an independent musician in New York, where everything is competitive and fast-moving. What helped me was staying consistent, showing up to every opportunity, and building relationships honestly through the music. Little by little, the project has developed its identity, and each performance helps push it forward.
How has your music evolved over the course of your career, and where do you see it going in the future?
My music has evolved a lot in the last few years, mostly in how I think about writing and leading a band. Early on I was focused almost entirely on the saxophone, trying to understand the language and learn from the masters. Over time I became more interested in composition, arrangement, and the overall architecture of a set, not just the solos. Working with my sextet pushed that growth even further, because writing for specific musicians forced me to think more deeply about sound, form, and interaction.
Looking ahead, I see the project becoming more defined and more personal. I’m preparing material for my debut album, and my goal is to continue developing a sextet book that feels rooted in the bebop tradition but speaks in my own voice. I want the music to stay honest, swinging, and connected to the audience, while expanding the band’s identity with every new composition.
Who have you collaborated with so far in your career?
I’ve had the privilege of collaborating with a wide range of musicians from both the New York and Israeli jazz scenes. Some of the artists I’ve worked with include Jeremy Pelt, Joe Farnsworth, Ari Roland, Steve Cardenas, Steve Davis, Phillip Dizack, Ben Solomon, Shai Maestro, Yuval Cohen, Yonatan Voltzok, Ofri Nehemya, Asaf Yuria, and Yuval Drabkin. I’ve also performed and recorded with many leading Israeli musicians such as Yonatan Cohen, Ofer Shapira, Shai Golan, Haggai Amir, Katia Tobool, Oren Hardi, Yoav Trifman, Dor Asaf, Assa Kook, and Alon Olearchick.
Each of these collaborations has influenced my playing, writing, and understanding of the music, and many of those experiences directly shaped the sound of my current sextet.
Can you describe your creative process and what goes into making a song or album?
My creative process has two completely different sides to it. When inspiration hits, the first thing I do is record the idea on my phone so I don’t lose it. Right after that, I record it a few more times, each one slightly different. Later I sit with the idea on both saxophone and piano, and only then do I write a lead sheet. The next day I deliberately try to “forget” it and rewrite it from memory, which usually creates a new version that is related but not identical. That tension between the original idea and the next-day version often becomes the core of the tune.
Arranging is a separate world for me. Each song requires a different approach, and I try to let the piece dictate the technique rather than forcing one method. The second side of my process happens when I don’t have an idea at all. In those moments I start with something simple and get more technical, relying on theory and intentionally pushing myself into unfamiliar territory. I clearly prefer the first approach, because I believe a composer’s role is to break rules and write by instinct. Then, when I switch into the arranger’s seat, my job is the opposite: to take those instinctive, sometimes unusual ideas and shape them so they fit the tradition and actually sound good for the band.
Dead or alive, who would be your dream collaboration?
My dream collaboration would be with Charlie Parker. His playing is the reason I became a saxophonist in the first place, and everything I do traces back to the language he created. To be able to hear his sound up close, to feel that intensity in person, and to try to interact with it would be unbelievable. Beyond Bird, I would also love the chance to work with some of the great bebop arrangers like Tadd Dameron, because so much of my writing and sextet concept comes from that tradition.
What was the first album you bought?
The first album I ever bought in a record store was Born to Be Blue by Grant Green. It wasn’t the first album I ever heard, but it was the first one I picked up after buying my record player, and it ended up being a meaningful introduction to collecting music in a more intentional way.
If you had to sell your music collection tomorrow, what album would you leave in your draw?
If I had to sell my entire music collection, the one album I would keep in the drawer is my copy of Oscar Peterson Live in Chicago. There’s something about the energy and clarity of his playing on that recording that I never get tired of. It’s one of those albums I can always return to and still learn from.
What is your favourite saying?
One of my favorite sayings is, “If you are not gonna live it, it’s not gonna come out of your horn.” — Charles “Bird” Parker. it’s true
What other hobbies or interests do you have?
Outside of music, my biggest hobby is basketball. It’s the one thing that clears my head completely. I play whenever I can, and it gives me the same mix of discipline, creativity, and flow that I look for in music.
I also love cooking
Tell us more about your upcoming project or this new project?
My main project right now is my sextet, a band I formed during my last year at The New School. We’ve been developing a book of original music that’s rooted in the bebop tradition but arranged in a way that highlights the personalities of the musicians in the group. We recently recorded a live session, and that music represents the core of what I’m trying to build: clear melodies, tight arrangements, and a sound that feels connected to the tradition while still being personal. The next step is to continue performing around New York, expand the repertoire, and eventually record a full debut album that captures the band at its best.
What’s in the pipeline after this project?
After this current project, I plan to continue expanding my work as a composer and bandleader by developing new original compositions that further explore the intersections of bebop, contemporary jazz, and improvisation. I also aim to collaborate with other artists, both in New York and internationally, to bring fresh perspectives into my music. In addition, I plan to record a new album featuring these compositions and present them through performances that engage audiences in immersive, interactive experiences. This ongoing work reflects my commitment to contributing to the jazz tradition while continually pushing its boundaries.
Thank you for your time and may you carry on making great, fresh music. *
Thanks! I really appreciate your time and support.
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