Dave Samuels

Dave Samuels (October 9, 1948 – April 22, 2019) was an American jazz vibraphonist and marimba player, best known for his over three-decade tenure with the contemporary jazz fusion band Spyro Gyra and as co-founder of the Caribbean Jazz Project.^[1][2] Born in Waukegan, Illinois, as the third of three brothers, Samuels began playing drums at age six and turned professional by fifteen.^[1] He studied psychology at Boston University before focusing on music at the Berklee College of Music, where he trained under vibraphonist Gary Burton.^[2][1] After graduating, he moved to New York City in 1974, soon joining Gerry Mulligan’s sextet and participating in a Carnegie Hall reunion concert with Chet Baker that same year.^[1] Samuels established himself as a versatile session musician, freelancing with artists including Carla Bley, Frank Zappa, David Friedman, Paul McCandless, Stan Getz, and Pat Metheny.^[1][2] He also co-founded ensembles such as Double Image, Gallery, and the Skylight Trio early in his career, and released his debut solo album, One Step Ahead, in 1980, followed by nine more over the years.^[2] His association with Spyro Gyra began in 1977 and became full-time with their 1983 album City Kids, during which he contributed to over twenty of the band's recordings until departing in 2005.^[1][2] In 1993, Samuels co-founded the Caribbean Jazz Project as a primary creative outlet, blending Latin jazz elements with his mallet expertise.^[1][2] The group earned him a Grammy Award for Best Latin Jazz Album for The Gathering in 2002 and a Latin Grammy for Afro Bop Alliance in 2008.^[1] He also contributed to Grammy-winning projects, including Nancy Wilson’s Turned To Blue (2006).^[2] Beyond performance, Samuels was an influential educator at Berklee College of Music and the New England Conservatory of Music, authoring instructional texts such as Mallet Keyboard Musicianship (1988) and Contemporary Vibraphone Technique (1992).^[1][2] Samuels died in New York City on April 22, 2019, at age 70, following a long illness (early-onset Alzheimer's disease).^[1][2][3] He was survived by his brothers Stephen and Jeffrey, daughter Sarah, and partner Janet Ross.^[2] His legacy endures through his innovative contributions to jazz percussion and fusion genres.^[1][2]

Early life and education

Early life

David Alan Samuels was born on October 9, 1948, in Waukegan, Illinois, and raised in nearby Winnetka as the youngest of three brothers in a musically inclined family headed by attorney Arthur Samuels and designer Ethel Samuels.^[1][4] His older brothers, who played saxophone and piano, inspired his early interest in music, leading him to begin studying drums and piano at the age of six.^[1] Samuels developed a passion for percussion during his childhood, becoming mostly self-taught on the vibraphone through personal exploration.^[4] By age 15, he was performing professionally in Chicago jazz clubs, immersing himself in the local scene and gaining formative experiences that shaped his improvisational style.^[1] At New Trier High School in Winnetka, Samuels studied percussion under Jake Jerger and performed with the school's jazz ensemble, honing his skills in a structured yet creative environment before graduating in 1966.^[4] This period marked the culmination of his pre-college musical development, bridging his self-initiated beginnings with the pursuit of formal higher education.

Education

Following high school, Samuels briefly studied music at Roosevelt University, taking courses at the Chicago Music College, before transferring to Boston University in 1966 to pursue a degree in psychology.^[5][6] During his time at BU, he formally began developing his skills on vibraphone and marimba, instruments that were not central to the university's music offerings but aligned with his growing interest in percussion.^[1] He earned his bachelor's degree in 1971, marking the completion of his undergraduate studies.^[5] After graduating from BU, Samuels enrolled at the Berklee College of Music in Boston in the early 1970s, where he focused intensively on vibraphone and marimba as part of his musical training.^[1] This institution provided a more specialized environment for jazz and contemporary percussion, allowing him to refine his technique through coursework and practice.^[2] His studies at Berklee built directly on his Boston University foundation without a separate degree noted in records.^[7] A pivotal aspect of his Berklee experience was mentorship under vibraphonist Gary Burton, from whom he took private lessons—limited to three sessions but highly influential.^[5] Burton imparted key techniques for mallet instruments, including the four-mallet grip and approaches to improvisation and pedaling that emphasized fluidity and harmonic complexity on vibraphone.^[8] These lessons shaped Samuels' technical proficiency, enabling greater independence in chordal playing and expressive control, which became hallmarks of his style.^[2] During his studies, he participated in jazz ensembles that honed his ensemble skills, though specific projects remain undocumented in primary accounts.^[9]

Professional career

Early career and collaborations

In 1974, Dave Samuels relocated from Boston to New York City to immerse himself in the vibrant jazz scene and advance his career as a mallet percussionist. Influenced by his studies with vibraphonist Gary Burton at Berklee College of Music, which shaped his innovative approach to vibes and marimba, Samuels quickly secured prominent sideman roles. His debut major gig came shortly after the move, when he joined Gerry Mulligan’s sextet for performances and recordings, marking his entry into high-profile jazz circles.^[2][1] Samuels' early New York years featured notable collaborations with leading jazz figures. He contributed vibraphone to Carla Bley's ambitious orchestral work 13 & 3/4 (1975), providing textured mallet layers on marimba, vibes, chimes, and orchestra bells alongside a large ensemble. The following year, he appeared on Gerry Mulligan's Idol Gossip (1976), delivering melodic and harmonic support on vibraphone in the baritone saxophonist's sextet, which blended cool jazz with contemporary flair. By 1977, Samuels recorded with saxophonist Gerry Niewood on Gerry Niewood And Timepiece, showcasing his mallet precision in a post-bop context with vibes and marimba enhancing Niewood's fluid improvisations. He also freelanced with artists including Frank Zappa, Paul McCandless, Stan Getz, and Pat Metheny. These sessions, spanning 1975 to 1977, highlighted Samuels' versatility and established him as a sought-after specialist in mallet instruments.^{[10][11][12][1]} In the late 1970s, Samuels co-founded the vibes-marimba duo Double Image with fellow mallet player David Friedman, focusing on intimate, exploratory performances that emphasized duo interplay and original compositions. Their debut album, Double Image (1977), captured live energy from New York and European gigs, earning a nomination for a German Grammy and drawing attention to their pioneering mallet techniques. These early duo activities, alongside sideman tours like Mulligan's sextet engagements through 1977, solidified Samuels' reputation as a mallet innovator capable of bridging jazz traditions with modern percussion aesthetics.^[9][13]

Time with Spyro Gyra

Dave Samuels became a full-time member of the contemporary jazz fusion band Spyro Gyra in 1983, after contributing as a guest on their earlier recordings starting in 1977. He remained with the group until his departure in 2005, though he left full-time touring duties around 1994, participating in over 20 albums and extensive touring.^[3][2][1] Samuels' vibraphone and marimba playing significantly shaped Spyro Gyra's signature fusion sound, providing melodic counterpoints and rhythmic textures that blended jazz improvisation with pop and R&B elements. On the 1986 album Breakout, his work on vibraphone, marimba, and KAT mallet synthesizer featured prominently in tracks like "Freefall" and "Doubletake," enhancing the band's smooth, accessible grooves. Similarly, his contributions to the 1993 album Dreams Beyond Control emphasized vibraphone integration in fusion-oriented compositions, adding harmonic depth and subtle Latin-inflected percussion to the ensemble's repertoire.^[14][1] In live performances, Samuels' mallet work brought dynamic Latin and jazz elements to Spyro Gyra's sets, often showcasing extended solos that highlighted the vibraphone's lyrical qualities alongside the marimba's earthy tones during tours in the 1980s and early 1990s. His tenure helped solidify the band's popularity in the smooth jazz scene, with frequent appearances at major festivals and venues. Samuels left full-time duties in 1994 to focus on solo projects and the Caribbean Jazz Project, allowing Spyro Gyra to evolve toward more electronic and world music influences in subsequent years while occasionally featuring him as a guest.^[15][2]

Caribbean Jazz Project

The Caribbean Jazz Project was founded in 1993 by vibraphonist and marimbist Dave Samuels for a special concert at the Central Park Zoo in New York City, initially assembling clarinetist and saxophonist Paquito D'Rivera and steelpan player Andy Narell as co-leaders to explore Caribbean-influenced jazz.^[16] The ensemble emphasized a fusion of Afro-Caribbean folkloric elements with advanced jazz harmonies, drawing on the principals' expertise in Latin rhythms and improvisation to create a democratic platform where tunes were selected from each member's catalog.^[17] Samuels' prior experience with the fusion-Latin hybrid style of Spyro Gyra informed the group's accessible yet sophisticated sound.^[18] The project's debut album, The Caribbean Jazz Project (1995), captured this vision through energetic arrangements largely composed by the trio, featuring Samuels' marimba in ethereal pianissimos and precise solos that intertwined with Narell's steelpan to evoke visceral excitement over Afro-Cuban grooves.^[17] Tracks highlighted the blending of marimba and steelpan timbres with jazz improvisation, supported by a rhythm section including pianist Dario Eskenazi, bassist Oscar Stagnaro, drummer Mark Walker, and percussionist Luis Conte, resulting in subtle swing and exuberant soloing.^[16] Follow-up Island Stories (1997) further showcased Samuels' contributions, including his composition "Sadie’s Dance," where marimba leads a catchy head into vibrant improvisations, alongside reinterpretations of works like Ernesto Lecuona’s "Andalucia" that merged formal Latin structures with open jazz exploration.^[19] Throughout the 1990s and 2000s, the project evolved via personnel shifts and extensive live tours, refining its repertoire on stages from New York's Blue Note to international venues like Tokyo, while maintaining a core emphasis on spontaneous interplay.^[16] Early lineups centered on D'Rivera, but changes incorporated flutist Dave Valentin, guitarist Steve Khan, and trumpeter Ray Vega, allowing the ensemble to adapt its Caribbean-jazz hybrid without losing its foundational blend of marimba-driven melodies, steelpan percussion, and harmonic sophistication.^[18] These tours, including performances in the mid-1990s and ongoing dates into the early 2000s, honed the group's ability to deliver lively, imagination-fueled sets that prioritized moment-specific creativity over rigid styles.^[18]

Double Image duo

The Double Image duo originated in the mid-1970s when vibraphonist Dave Samuels and marimbist David Friedman, who had previously collaborated in New York jazz circles, established a vibes-marimba partnership that initially functioned as a quartet.^[20] Their debut album, Double Image (Enja Records, 1977), featured original compositions primarily credited to Friedman and Samuels, such as "Rodney's Dream of Fantasy and Self-Fulfillment" by Friedman and "Veltland" by Samuels, blending jazz improvisation with classical influences on mallet instruments.^[21] This recording earned a nomination for the German Phonokriter award, highlighting the ensemble's innovative approach to percussion.^[21] The group performed as a quartet at events like the 1979 Percussive Arts Society International Convention (PASIC) in New York City before transitioning to a duo format by 1982, as demonstrated at PASIC in Dallas.^[3] The duo's second album, Dawn (ECM Records, 1979), continued to showcase their compositional synergy, with tracks like "Passage" contributed by bassist Harvie Swartz but centered on Samuels and Friedman's mallet interplay.^[22] By the 1980s and 1990s, Double Image refined its acoustic duo sound, emphasizing intricate interplay between vibraphone and marimba, often incorporating extended techniques such as rapid mallet exchanges and harmonic explorations to create lyrical, impressionistic textures.^[22] A notable live recording, Open Hand (Stunt Records, 1994), captured a performance from the 1993 PASIC in Columbus, featuring spontaneous duo dialogues that underscored their telepathic musical communication.^[9] Later releases, including Duotones (Double-Time Records, 1997) and the live album Moment to Moment (Challenge Records, 2006), further highlighted their evolving style, with Friedman typically on vibraphone and Samuels on marimba—reversing roles on select tracks for dynamic contrast.^[23] Double Image maintained activity into the 2000s, performing at percussion conventions and releasing music that influenced subsequent mallet duos by demonstrating the viability of unaccompanied percussion ensembles in jazz and contemporary settings.^[3] Their partnership, spanning over three decades, elevated the profile of vibraphone and marimba through clinics, lectures, and recordings that addressed the instruments' underutilization in modern music.^[2] In 2015, Double Image was inducted into the World Mallet Association Hall of Fame, recognizing their pioneering contributions to mallet percussion innovation.^[5]

Solo work

Recordings

Dave Samuels' debut solo album, One Step Ahead (1980, Dire), marked his emergence as a leader in contemporary jazz, blending jazz fusion with Latin rhythms through a quartet featuring vibraphone prominently alongside electric elements. The title track, composed by Samuels, exemplifies the album's energetic fusion style, incorporating rock-infused grooves and modal improvisation in a quartet arrangement that highlighted his mallet keyboard prowess. Produced in a compact studio setting, the recording captured Samuels' early compositional voice, with self-penned pieces driving the project's forward momentum and showcasing his transition from sideman roles to independent artistic direction.^[24] In his mid-career solo releases, Samuels expanded his palette, evident in Living Colors (1988, MCA), a smooth jazz outing infused with exotica and subtle Latin undertones, featuring guest steelpan from Andy Narell and bass by Steve Rodby to enrich the vibraphone-led textures. Natural Selection (1991, GRP) further deepened these Latin influences, with Samuels co-producing alongside Jay Beckenstein and collaborating with bassist Jimmy Haslip and drummer Will Kennedy on self-composed tracks like "Spring High" and "A White Rose," which balanced melodic introspection with rhythmic propulsion. Other notable solo albums include Ten Degrees North (1989, MCA) and Del Sol (1993, GRP), continuing his exploration of fusion and Latin elements. By Mosaic (2006, Concord Picante), released under the Caribbean Jazz Project banner but led by Samuels, the album emphasized acoustic marimba explorations in an Afro-Cuban framework, incorporating guest contributions from steel drummer Andy Narell to create layered, mosaic-like ensembles.^[25][26][27] Samuels' solo discography reflects a clear thematic evolution, shifting from the electric vibraphone-driven fusion of his early work—echoing influences from his Spyro Gyra tenure—to increasingly acoustic marimba-centric pieces that prioritized Latin jazz intimacy and timbral warmth. Across these albums, he assumed key production roles, often self-composing the majority of material to foreground mallet instruments as narrative leads, resulting in a cohesive body of work that prioritized rhythmic innovation over commercial polish.^[13][3]

Compositions and publications

Dave Samuels contributed significantly to percussion literature through his writings on mallet techniques, authoring instructional materials that emphasized practical exercises and innovative pedagogical methods for vibraphone and marimba players. He penned a series of columns for Modern Drummer magazine under the "Complete Percussionist" banner, including articles such as "Voicing for Mallets" (August-September 1982), which explored chordal playing on mallet instruments and addressed the scarcity of dedicated materials for this approach, and "Chord Scales" (December 1982), detailing the relationship between chords and their associated scales to enhance improvisational skills.^[28][29] Similarly, Samuels wrote columns for Modern Percussionist, including contributions in Volume III, Number 1 (1986-87), where he discussed advanced mallet applications in contemporary music settings.^[9][30] In 1992, Samuels published Contemporary Vibraphone Technique, a two-volume method book series issued by Alfred Music, designed to develop four-mallet proficiency through a blend of physical exercises and theoretical insights. Volume 1 focuses on foundational grips, strokes, and rolls, providing progressive etudes to build technical control and musical expression on the vibraphone.^[31] Volume 2 advances to scale construction, chord voicings, and modal studies, incorporating duo etudes that simulate ensemble playing to foster independence and harmonic understanding.^[32] These books, accompanied by cassette and CD recordings, offered a structured curriculum that integrated jazz improvisation with classical technique, influencing generations of mallet percussionists.^[33] Samuels also composed original works for mallet ensembles, publishing pieces such as "Rendezvous" and "Square Corners," which highlight rhythmic complexity and idiomatic writing for vibraphone and marimba in group contexts.^[5] On his 1992 solo album Del Sol, he featured self-composed tracks like the title piece "Del Sol" and "Aurora," blending Latin jazz influences with intricate mallet patterns to showcase soloistic and ensemble potential.^[34] Complementing his print publications, Samuels produced the two-volume instructional video series Mallet Keyboard Musicianship: Steps to Excellence in 1988 for Warner Bros. Publications, demonstrating advanced four-mallet techniques through on-screen performances and breakdowns of grips, scales, and improvisational exercises.^[1] These videos, which covered chord scales, modal studies, and practical applications, served as visual extensions of his method books and were widely used in pedagogical settings, including his courses at Berklee College of Music.^[35]

Teaching and legacy

Academic roles

Dave Samuels began his academic career at Berklee College of Music shortly after his graduation, serving as a faculty member from 1972 to 1974 and rejoining the institution in 1995 as an associate professor in the Ensemble Department, where he remained until 2016.^[5] In this role, he taught vibraphone, marimba, and jazz improvisation, focusing on practical techniques such as listening, transcription, and structured exercises to develop improvisational skills.^{[6] [2]} His approach contrasted traditional apprenticeship models by introducing an organized system that integrated reading, theory, and real-world application, helping students build a foundational understanding of mallet percussion in contemporary jazz settings.^[6] In addition to his long tenure at Berklee, Samuels held an adjunct faculty position at the New England Conservatory of Music, where he contributed to percussion instruction and broader music education programs.^[5] He also served as an adjunct professor at New York University and the Manhattan School of Music, extending his expertise in mallet instruments to diverse student bodies in these institutions.^[5] Through these roles, Samuels mentored emerging musicians by emphasizing hands-on learning and technical proficiency, often drawing from his own studies with Gary Burton to promote four-mallet techniques and innovative grips on vibraphone and marimba.^{[5] [8]} His mentorship continued until he was diagnosed with early-onset Alzheimer's disease in 2013, which gradually affected his teaching activities.^[3] Samuels further impacted jazz percussion education by leading clinics and master classes worldwide on mallet instruments, advocating for their integration into jazz curricula and fostering greater recognition of vibraphone and marimba as core elements of the genre.^[3] His mentorship extended Gary Burton's influences through practical guidance on pedaling, dampening, and chord voicings, helping students adapt classical techniques to improvisational contexts.^{[2] [8]} Publications such as his two-volume Contemporary Vibraphone Technique: A Musical Approach were incorporated into his teaching to provide structured exercises for technical development.^[2] Overall, Samuels' educational efforts elevated the profile of mallet percussion in jazz pedagogy, influencing generations of performers through institutional roles and outreach.^[3]

Awards and recognition

Dave Samuels received significant recognition for his contributions to jazz and mallet percussion, particularly through his work with the Caribbean Jazz Project. In 2003, he won a Grammy Award for Best Latin Jazz Album for the recording The Gathering, produced with the Caribbean Jazz Project, which highlighted his innovative vibraphone and marimba playing in blending Latin rhythms with jazz improvisation.^[36][2] This accolade underscored his role in elevating mallet instruments within Latin jazz ensembles, influencing subsequent generations of percussionists to explore cross-cultural fusions. Samuels also earned a Latin Grammy Award in 2008 for Best Latin Jazz Album with Afro Bop Alliance, a project that further demonstrated his mastery of vibraphone in Afro-Cuban jazz contexts and his ability to integrate mallet percussion as a lead voice in complex rhythmic settings.^[37] This win, shared with collaborators including drummer Joe McCarthy, affirmed his impact on the global Latin jazz scene and his technical advancements in mallet techniques for improvisational depth. In 2015, Samuels and fellow vibraphonist David Friedman were inducted into the Percussive Arts Society Hall of Fame as the duo Double Image, recognizing their pioneering partnership that revolutionized mallet keyboard performance through innovative duo arrangements and educational outreach.^[38] This honor, along with the concurrent induction of Double Image into the World Mallet Association Hall of Fame, cemented Samuels' legacy as a transformative figure in mallet percussion, inspiring educators and performers to expand the instrument's expressive possibilities in jazz and contemporary music.^[5] Throughout his career, Samuels was frequently voted Best Vibes Player in polls by Modern Drummer and Jazziz magazines, accolades that reflected his peers' and readers' appreciation for his distinctive tone, phrasing, and contributions to vibraphone innovation during his tenure with groups like Spyro Gyra.^[39] These recognitions highlighted his enduring influence on the mallet percussion community, where he bridged classical precision with jazz spontaneity.

Personal life and death

Samuels was survived by his brothers Stephen and Jeffrey, his daughter Sarah, and his partner Janet Ross.^[2] He died on April 22, 2019, in New York City at the age of 70 from complications of early-onset Alzheimer's disease, which he had been diagnosed with in June 2013.^[2][1][40]

Discography

Solo albums

Dave Samuels released several solo albums as a leader throughout his career, showcasing his mastery of the vibraphone and marimba in various jazz fusion and Latin-inspired contexts.^[41]

• One Step Ahead (1980, Dire Silverline): This debut solo effort features Samuels in a quartet setting with guitarist Giorgio Baiocco, emphasizing melodic jazz improvisation and subtle fusion elements. Key personnel include Dave Samuels on vibraphone and marimba.^[24][1]
• Living Colors (1988, MCA Records): A vibrant exploration of contemporary jazz with Latin undertones, highlighting Samuels' fluid vibraphone lines alongside electric instrumentation. Key personnel include Dave Samuels (vibraphone, marimba), Mitchel Forman (keyboards), Ross Traut (guitar), Steve Rodby (bass), and Tom Brechtlein (drums).^[42]
• Ten Degrees North (1989, MCA Records): Drawing from Caribbean rhythms, this album blends smooth jazz grooves with tropical percussion, reflecting Samuels' interest in global sounds. Key personnel include Dave Samuels (vibraphone, marimba), Chick Corea on piano for select tracks, and Andy LaVerne on keyboards.^[43]
• Natural Selection (1991, GRP Records): Focused on evolutionary jazz fusion themes, it features intricate arrangements and Samuels' signature mallet work in an ensemble format. Key personnel include Dave Samuels (vibraphone, marimba), with guests like David Benoit on piano and Russell Ferrante on keyboards.^[26]
• Del Sol (1992, GRP Records): An homage to Latin jazz traditions, this recording incorporates sunny, rhythmic vibes with acoustic warmth and subtle electronic touches. Key personnel include Dave Samuels (vibraphone, marimba), Danilo Pérez (piano, keyboards), and bassists Eliseo Borrero and Lincoln Goines.^[44]
• Synergy (1994, Tall Poppies): A collaborative yet leader-driven project with the Australian ensemble Synergy Percussion, emphasizing contemporary percussion and minimalist jazz structures. Key personnel include Dave Samuels (vibraphone, marimba) and members of Synergy Percussion such as Ian Cleworth and Timothy Constable.^[45][46]
• Tjader-ized (1998, Verve Records): A tribute to vibraphonist Cal Tjader, reinterpreting classics with modern Latin jazz flair and infectious grooves. Key personnel include Dave Samuels (vibraphone, marimba), with guests like Steve Khan on guitar and Dave Valentin on flute.^[47]

As leader with groups

Samuels co-led the mallet percussion duo Double Image with fellow vibraphonist and marimbist David Friedman, focusing on original compositions and improvisations that highlighted the duo's technical precision and jazz versatility. Their debut recording, Double Image (1977, Enja Records), featured tracks like "Veltland" and earned a nomination for the German Phonographic Academy Award. The group followed with Dawn (1979, ECM Records), recorded in Oslo and emphasizing atmospheric soundscapes; In Lands I Never Saw (1986, CMP Records); the live album Open Hand (1994, DMP Records), captured at a Percussive Arts Society International Convention performance; Duotones (1997, Big Mo); and the live Moment to Moment (2006, Challenge Records), which showcased their enduring partnership.^[48] As a founding member and leader of the Caribbean Jazz Project, Samuels directed the ensemble's fusion of jazz improvisation with Caribbean rhythms, steel pan, and Latin elements, often collaborating with steel pannist Andy Narell and clarinetist Paquito D'Rivera. The group's self-titled debut, The Caribbean Jazz Project (1995, Heads Up International), included originals like "One for Tom" co-composed by Samuels and D'Rivera. Key releases during his leadership include Island Stories (1997, Heads Up International), featuring guest D'Rivera on tracks such as "Como un Bolero"; New Horizons (1998, Concord Picante); Paraiso (2001, Concord Picante), with contributions from guitarist Steve Khan and flutist Dave Valentin; The Gathering (2000, Concord Picante), which won the Grammy Award for Best Latin Jazz Album in 2002; and Afro Bop Alliance (2008, Heads Up International), which won the Latin Grammy Award for Best Latin Jazz Album.

• Mosaic (2006, Concord Records): Blending Caribbean jazz motifs with intricate mosaics of sound, this album highlights Samuels' featured role in a fusion of vibes and ensemble interplay. Key personnel include Dave Samuels (vibraphone, marimba), Paquito D'Rivera on saxophone, and members of the Caribbean Jazz Project.^[49]

Samuels began contributing to Spyro Gyra in 1977, becoming a full-time member with their 1983 album City Kids and remaining until 2005, during which he contributed to over twenty of the band's recordings and shaped their smooth jazz sound with melodic solos and compositions. Notable albums from his tenure include Freetime (1981, MCA Records); Incognito (1982, MCA Records); Breakout (1986, MCA Records), on which he composed "Whirlwind" and played KAT mallet synthesizer; and Dreams Beyond Control (1993, GRP Records), featuring tracks like "Dreams" that underscored his textural contributions.

As sideman

Samuels established himself as a sought-after sideman in the mid-1970s New York jazz scene, lending his distinctive vibraphone and marimba playing to recordings by prominent artists. His early contributions highlighted his versatility in both acoustic and fusion contexts, often blending melodic precision with rhythmic drive. Notable early collaborations include:

• Carnegie Hall Concert (1974, recorded live; released 1975) by Gerry Mulligan and Chet Baker, where Samuels played vibraphone and percussion alongside a septet featuring Bob James on piano and John Scofield on guitar.^[50]
• 13 & 3/4 (1975) by Carla Bley, on which Samuels contributed marimba, vibraphone, chimes, orchestra bells, and additional percussion to the composer's expansive big-band arrangements.^[51]
• Idol Gossip (1976) by Gerry Mulligan, featuring Samuels on vibraphone in a sextet setting with guitarist Mike Santiago and bassist George Duvivier.^[11]
• Gerry Niewood and Timepiece (1977) by Gerry Niewood, where Samuels provided vibraphone, including electric vibraphone on tracks like "Masada," supporting the saxophonist's post-bop explorations.^[52]

Throughout the late 1970s freelance period, Samuels appeared on diverse projects that showcased his adaptability across jazz subgenres. He performed vibraphone on select tracks of Frank Zappa's Zappa in New York (recorded 1976; released 1978), adding mallet textures to the composer's avant-garde rock-jazz ensemble during live shows at the Felt Forum.^[13] In 1979, Samuels played vibraphone, marimba, and percussion on Paul McCandless's debut album All the Mornings Bring, enhancing the woodwind specialist's chamber-like compositions with subtle timbral colors.^[53] Following his departure from Spyro Gyra in 2005, Samuels occasionally contributed as a sideman, though much of his later output shifted toward co-leadership in ensembles like the Caribbean Jazz Project.