Yoav Zohar is an Israeli jazz drummer whose documented recording career runs through exactly two albums, both led by tenor and soprano saxophonist Albert Beger. His Discogs entry (artist 3713110) lists no releases under his own name and describes him only as "Drummer," with a single listed affiliation: The New Albert Beger Quartet.

The first album is Big Mother (Earsay ES078, 2008), billed to The New Albert Beger Quartet and recorded at Bardo Studios in Israel in April 2007. Reviewing it for All About Jazz, Eyal Hareuveni described the lineup as Beger's "trusty bassist Gabriel Meir, and two new members, pianist Aviran Ben Naim and drummer Yoav Zohar," praising Zohar's "muscular drumming" for supplying a steady beat that freed Meir to use extended bass techniques. That contemporary account of Zohar as a newcomer sits oddly against Beger's own liner note for the same album, posted later on his Bandcamp page, which calls Ben Naim's piano the only new addition "along with long time collaborators Gabriel Meir (Bass) and Yoav Zohar (Drums)." Both descriptions cannot be quite right at once, and no earlier recording of Beger and Zohar together has been found to settle it either way; both are stated here rather than resolved. Big Mother itself is a conceptual, six-part suite about ecological destruction, tied to Beger's own environmental activism in Israel, and marks the first time Beger had used a pianist on one of his own records. A separate review, from The Free Jazz Collective's Stef Gijssels, called the rhythm section "strong," noting how it pushes Beger's and Ben Naim's improvisations forward on pieces like "Tales Of Beelzebub" before the band lands in the "abrupt stop-and-go unison breaks" that punctuate the record.

The second is The Way To Go (Jazzis Records 1032, 2014), billed to the Albert Beger Trio, with Beger on tenor and soprano saxophones, double bassist Assaf Hakimi (credited "Asaf Hakimi" on this release's sleeve), and Zohar on drums. Adam Baruch produced the album and wrote its liner notes. Reviewing it, again for All About Jazz, the same critic, Hareuveni, described most of the album's compositions as written after the death of Beger's mother, and this time called Zohar a drummer "who regularly collaborates with Beger, as on Beger's Big Mother" - the opposite of his own "new member" framing of the same drummer six years earlier. Hareuveni's 2014 review was more measured about the results than his 2008 one, describing Hakimi and Zohar as "a less versatile and diverse rhythm section" than the William Parker/Hamid Drake pairing Beger had used on his Evolving Silence albums, though he singled out "Black Cabaret," the title track and "In The Zone" as pieces where the trio connects.

Beyond these two records, no leader or co-leader credit, no other sideman credit, and no independent biography for Yoav Zohar could be located. He does not appear in the Discogs catalog under any other release, has no Wikipedia article in English or Hebrew, and no Wikimedia Commons photograph or press profile was found under his name.

The two recorded documents of Zohar's playing show him in different settings six years apart: a quartet where his and Mayer's rhythm work was singled out by one reviewer as the "strong" foundation pushing Beger's and Ben Naim's improvisations forward, and a trio where a second reviewer found the same rhythm section, with Hakimi in Mayer's chair, more of a steady pulse than an equal foil for Beger's more exploratory playing. Both records sit inside Beger's own free jazz idiom, with Big Mother pulling toward the more composed, post-bop-inflected end of his catalog (the first Beger record to feature piano) and The Way To Go returning to the leaner saxophone-and-rhythm-section format of his earlier trios. Zohar's own stated influences and formal training are not documented anywhere found.