Haim Peskoff is a Jerusalem-born drummer who has spent the last decade and a half inside Tel Aviv's free-jazz circle, most visibly as the regular drummer in bassist Shay Hazan's bands. He shares a surname and an instrument's cousin (his father plays guitar) with Steve Peskoff, the veteran Jerusalem guitar teacher, and the two are frequently confused on Discogs, where a large body of Haim's own recordings has at times been searched under his father's name. The Jerusalem venue Mazkeka settled the relationship in its own words when it billed a rare father-son concert: Steve on guitar and effects, joined by "his eldest son Haim," calling the younger Peskoff a drummer of unrestrained range, "calculated and wild" in the same breath. This profile documents Haim's own catalog on its own terms, separate from his father's.

His earliest confirmed recording is Overlook (OutNow Recordings, 2011), a quartet date led by tenor saxophonist Yoni Kretzmer with bass clarinetist Nitai Levi and bassist Shai Ran, cut in Israel while OutNow was still a young label. Kretzmer would later master two more records Peskoff plays on, but Overlook is the one recording where the two are actually credited as bandmates.

The bulk of his discography runs through Shay Hazan's groups. Domestic Peace (OutNow Recordings, 2018), credited to the Shay Hazan Quintet and recorded at Levontin 7 in Tel Aviv, put him behind the kit alongside pianist Milton Michaeli, tenor saxophonist Eyal Netzer, and trumpeter Tal Avraham, with Yoni Kretzmer mastering rather than playing. The same year, Hazan's 10" EP Good Morning Universe (NoBusiness Records, recorded at Levontin 7 on February 17, 2017) expanded the band to a sextet: Peskoff shares the drum chair, album-wide, with a second drummer, Ofer Bymel, while Albert Beger and Netzer both play tenor saxophone and Nadav Masel plays a custom five-string cello he calls "Hamsa." Three years later the Shay Hazan Quintet's Nuff Headlines (Chant Records, recorded December 2019 at Haogen Studios, released September 2021) carried the same working band, this time with Michaeli's piano and a lyric from bassist Nir Sabag on the closing track, and the 7" single Beber's Cha Cha (Jazz45, 2021, with UK phonographic distribution through Jazzman Records) drew its A-side from the same session pool.

Peskoff also plays in the Uriel Herman Quartet, pianist Uriel Herman's own group. Face To Face (Laborie Records, 2019), released in France, is the first of the two Herman albums that carry his credit, an album-length drum chair alongside bassist Avri Borochov and a rotating cast of guests. A second Herman album, Different Eyes (Ubuntu Music, 2023), reunites the same core band (Borochov, saxophonist Uriel Weinberger, drummer Maayan Doari sharing percussion duties); Discogs carries no personnel data at all for that release, but Apple Music's own credit metadata lists Peskoff among its performers on four of its nine tracks, consistent with the same group's earlier record.

His one true co-billed date is Avocado Fields (self-released, January 2019), a trio session credited evenly to alto saxophonist Michaël Attias, Shay Hazan, and Peskoff, recorded as a set of six long-form improvisations without a designated leader. It is the closest thing to a leader credit in his catalog. He also appears, outside Discogs entirely, on two 2022 live digital singles by the Lenny Sendersky Quartet, "Tzamid" and "Bolero, Mountain and Clouds," alongside pianist Moshe Elmakias and bassist Ehud Ettun, verified through Apple Music and the group's own YouTube uploads. The one recording where father and son actually appear together is flutist Mark Weinstein's In Jerusalem (Zoho Music, 2015), a program of Hasidic melodies on which Steve Peskoff plays guitar and Haim plays drums alongside bassist Gilad Abro and percussionist Gilad Dobrecky.

Peskoff works almost entirely inside the loose, collectively-driven end of Israeli jazz rather than its bebop mainstream, which is where the whole cast of players around him (Hazan, Beger, Netzer, Attias) sits. Mazkeka's own description of him, "a drummer, virtuoso, unrestrained, varied, calculated and wild," captures a player comfortable both inside tightly composed material, like Hazan's through-written Quintet charts, and inside the fully open improvisation of Avocado Fields. His two working relationships pull in different directions stylistically: Hazan's bands lean toward groove and modal writing colored by Middle Eastern instrumentation (guimbri, zurna), while the Uriel Herman Quartet and the Attias trio sit further into free improvisation. No dedicated critical writing about his individual drumming exists in English; what can be said comes from the company he keeps and the amount of it.