He made his international debut in 2006, where he performed as a pianist and composer in Paris alongside the famous French jazzmen like Mike Armoogum on bass, Séverine Eouzan on saxophones, Philippe Foch on percussions… Mohamed-Ali Kammoun is both a musician and a musicologist (Ph.D. in Musicology, Sorbonne University, Paris) He is recognized today as one of the young the most influential figures of the Tunisian cultural scene. As a performer, he has been trained in two great Parisian jazz schools: CIM and the Bill Evans Piano Academy. He played in 2010 in famous Carthage Jazz Festival as a pianist with Mayra Caridad Valdés’ Latin jazz orchestra (Cuba). He also performed in several international projects in Africa, Europe, the Arabic world, Canada… (Pierre Vaiana, Fawzi Chekili, Alex Simu, Mamdouh Bahri…).
Mohamed Ali Kammoun has grown up in the tradition of maqam-s, but he also possess the tools of an experienced contemporary jazz artist. On august 14, 2013, his new creation called “Margum” (traditional rug), written for multicultural big orchestra, was programmed in roman amphitheatre of “Festival International de Carthage”, one of the most prestigious stages in Arabic world. In his 2013 quintet project, it focuses on the sound design. This aspect of musical creation isn’t valued enough in the of the Arab world, where even experts still talk about Mulahhîn (creator of melodies) and Alhân (melodies) citing the current oriental musical composition, usually constituted of a material harmonic, rhythmic, formal, orchestral … as well as a melodic line.
In 2011, the German press emphasizes the high quality of the compositions of the leader of the project, noting that Bayreuth, Wagner’s capital, has discovered a new composer of great talent. Tunisian critic Khaled Tebourbi praised his art drawing him a revolutionary aesthetic profile
« There has been much talk about alternative music since January 14th (…). What about tomorrow’s Tunisian music? Until this concert by Mohamed-Ali Kammoun and his band (Tunisology), there has not been anything particularly new or truly alternative. Here, we have seen a sketch of what the future of Tunisian music might be like. A possible future, quite feasible, based not on a speech intention, but on the practical experience of applied research, the innovation, the synthesis of achievements and perspectives on the opening and authenticity » (La Presse, August 2011). »