Not 2 many details, so I'll assume:
The room sounds ok, and is big enough.
Recording LIVE i.e. all instruments play 2gether, no earphones.
Short gobo (screen) available.
Ur mic selection is quite limited, so U'll have 2 assign the mics by brightness.
Placement is crucial. The players need 2 b close 2gether, the way they usually perform.
Another reason is the leakage. Placed 2 far apart and trying 2 fight the bleed COMPLETELY will result in longer delays and un-pleasant colored leakage.
Instead, use the leakage as the session's reverb.
The more problematic r the pno and sax, so they'll b further away from the drums. The sax should face the rhythm section, and the drums, bass and pno should b placed side by side along a line, facing the sax.
This way U use the bass as a screen between the pno and drums, and the drums faced @ 90 degrees from the pno and bass don't send the kick blasting in2 the mics.
So, along 1 wall: drums, bass and then pno, facing the the opposite wall (not 1 another). The sax is opposite them, facing the RS wall.
Place a screen between the drums and the bass - this will kill some of the immediate leakage.
Brightest: the condensers - the 414 and the 835.
The 835 is stereo, so it's a natural choice 4 the overheads. It has variable modes of stereo so U can play around with it 2 find what sounds best. Stereo wide would b a good place 2 start, M-S 2 follow.
The drummer sings also, so it's a part of the kit... balance the mic 4 a good vocal sound as well. U may have 2 use a wind screen due the mic's character.
Use the 414 4 the sax, mic @ between the upper rim of the bell and the keys, @ ~45 degrees down.
This mic's back side is facing the RS, and in cardioid or hyper should isolate the RS a bit and a darker bleed will serve as reverb.
BUT: do experiment with omni mode, if a brighter bleed and less isolation serves the gig better. Mind U though, the sax will get less controllable in the bleed.
The 112 will serve the bass, munted on a short stand near the bridge - experiment.
U mentioned DIs, so I assume the bass has a pickup, blend it with the mic.
2 trix: wrap the mic with foam, and place it UNDER the bridge, as a pickup.
An alternative: use rubber bands 2 hold the mic under the bridge, much like a condenser "spider" shock mount.
wrapping in foam and placing in the f-hole may serve U sometimes, combined with the p/u.
IMPORTANT: Not amplified, the bass will lack volume in the room, and the player will play hard and un-even.
Place an amp BEHIND the bass player and he will soften the playing, evening the notes and producing more bass in all.
If no amp is available, use a speaker with a send from the console / cans amp.
So, now it's just 57s.
Upright PNO: 2 options: player perspective: mic coincident or spaced pair from the player's side. Try removing the cover 4 a brighter sound.
Dark, woody pno (that's the right sound IMHO) mic the sound board from the back with a spaced pair - listen where the lows and highs sound best on the board.
1 57 4 the drummer's vocal - if needed or as safety- as close as possible 2 the 835 or extremely close 2 the drummer's mouth, check phase while moving the mic's angle- it will phase with the OH mic.
U may use the last 57 for ambience, or 4 the kick. But in most cases the OH mic, if placed right is cool on its own.
Have fun, and keep a cool and relaxed atmosphere,
P.S - Very true about Yoram Lev. Although I can't get over the no-beard era. He always reminded me of cheech and chong... YUCHZAR HAZAKAN !!!