Mamdouh Bahri "African
Flame" - CD : Aljazzira JC 55004
Liner Notes
This fourth recording explores the meeting of Eastern and Western musics in their popular and known forms. The balance of jazz with Eastern traditional influences is marked by a large amount of improvisation (Istikhbar). Traditional oriental rhythms (binary - Ouahda Saguira, Baladi, etc.; ternary - Selsla, M'dawar Houzi, Daraj, etc.; odd - Samaï Thakil) and the Afro-Mediterranean melodies are inextricably interwoven with jazz harmonies, while Arab musical forms (Douleb, Touchayah, Samaï) infuse the jazz to create an explosive a new sound.
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Chahnaz (1993)
This is the name of a Persian Maqàm . The rhythm is built on 12 beats. -
Nahawand (1993)
This is based on the Maqàm Nahawand (harmonic minor scale) and the rhythm Baladi. -
African Flame (1994)
This is a first version arranged for "The Spirit of Life Ensemble" was recorded on the CD "Live at the 5 spot, NY" (1995). It is dedicated to my friend Kamal Abdul Alim, with whom I did my first gig in New York. The rhythm is 12/8. -
Nekriz (1994)
It uses the Maqàm Nekriz. It is the fourth mode of an harmonic minor scale. The rhythm, Khatm, is in 3/4 time. -
Zérav (1994)
It borrows its rhythmic variations from the Samaï form. The first rhythm, Samaï Thakil , is built on 10 beats. The second, Selsla, is 3/4 time. -
Douleb (1992)
It is based on the Maqàm Nahawand (harmonic minor scale) and the rhythm Baladi. -
Flying High (1993)
It is a tribute to the legendary pianist Randy Weston's "High Fly" - is a carnaval samba with intimations of waltz time. Another version was recorded with "The Spirit of Life Ensemble" on the CD "Feel the Spirit" (1994). -
Aberjohn (1991)
It is a tribute to the great guitar player John Abercrombie - uses two African rhythms based on 12 beats. Another version was recorded with "The Spirit of Life Ensemble" on the CD "Inspirations" (1993). -
Daraja (1991)
It uses three scales - Maqàm Kordi , melodic minor scale, and Maqàm Saba Kordi ; and two rhythms : Daraj (built on 6/4) and another created in 5/4. -
Asbayin (1994)
It is a Tunisian Maqàm .The rhythm is M'dawar Houzi (6/8). -
Hijazkar (1993)
It Uses the Maqàm Hijazkar . The rhythm, Baladi., is speeded up at the end. -
Matar (1992)
It borrows its rhythmic variations from the Samaï form. The first rhythm, Samaï Thakil is built on 10 beats. The second, Selsla, is 3/4 time.