This original tunes are influenced by a variety of musical traditions
including Oriental, Middle Eastern, Jazz and Ethnic North African music. The
result is a unique blend of all these traditions, that includes nuances from a
wide variety of influences.
The melody is drawn from oriental rhythmic tradition and some scales, the rest
is taken from jazz.
was composed in July 1992. It is a tribute to the luthist singer-composer
"Abu el Hassan Ali ben Nâfi" known as ZIRYAB. Moved to Cordova (Spain) in
822, he introduced the musical tradition of Bagdad (classical arab music) and
developed the "Andalus-Arab music".
The scale used is "Hijazkar", the first rhythm "A aràj" is built on 9
beats and the second is built on 12 beats.
was written in April 1990. It used a Turkish scale "Zinkola or Zingran in dialect" and the rhythm "Mokhammes" built on 16 beats.
was composed in January 1992. It is a blend of jazz harmony and north african rhythm built on 12 beats.
was written in October 1988, based on the scale "Nawather" with the "hybrid" harmony progression and a rhythm built on 12 beats.
was composed in October 1986. It is a 32 bars calypso and dedicated to Sonny Rollins.
was written in June 1992 and uses a jazz harmony with a rhythm built on 12 beats.
was written in October 1991. It is a blend of jazz harmony and two rhythms, the first is built on 7 beats and the second is built on 6 beats.
was composed in November 1988. It is a blend of jazz harmony and two rhythms, the first "Narjassi" is built on 13 beats and the second is built on 16 beats.
was written in December 1988. It is modal tune with a rhythm built on 12 beats.
was composed in February 1990. It is a tribute to the luthist singer-composer "Tahar Gharsa" who best typifies the Tunisian Style. The scale used is "Nekriz" and the rhythm "Insiraf" is built on 10 beats.
(... ) Thus Mamdouh Bahri experiences this singular paradox of a fruitful
encounter that brings him back ever closer to his roots, constantly enriched by
rhythmic reminiscences that anchor his music definitively in oriental ground.
His personal experience has brought him into contact with some of jazzs
greatest exponents - including John Scofield, Dave Liebman, John Abercrombie,
Joe Dioro, Jim Hall, Richie Beirach, Horace Parlan and the improvisers of the
"Spirit of Life Ensemble".
He comes across the art of persistent repetition which is not new to jazz and
which he now echoes in a welcome homage to Sonny Rollins. It is something of a
hypnotic temptation that seems to be the key to an art of movement,
magnificently served by a very original guitar technique.
Next | Previous | Back to Main
</td>