Barak Mori was born in Tel Aviv in 1975 and started on organ at 7. By 13 he was playing jazz on guitar and electric bass, and at 15 he began classical training on acoustic bass alongside his jazz studies. He was still a student at the Thelma Yellin School of the Arts when he first played the Red Sea Jazz Festival and toured internationally with the Young Israeli Philharmonic Orchestra. In 1996 he joined the band led by saxophonist Walter Blanding Jr., and a 1998 New School University scholarship took him to New York.

He has been one of the city's most in-demand bassists since, described as the rhythmic anchor for trumpeter Avishai Cohen and saxophonist Eli Degibri, both already profiled on jazzprofiles.com. He appears on Degibri's Israeli Song (2010), Twelve (2013), and Cliff Hangin' (2015), and on Cohen's Cross My Palm with Silver (2017) and Ashes to Gold (2024), the latter alongside pianist Yonathan Avishai. His session credits also include Jonathan Voltzok's More to Come, Amir Bresler's Tide & Time, Tom Oren's Dorly's Song, Anat Cohen's Noir, and international dates with Madeleine Peyroux and pianist Eric Reed.

His own leader credit came in 2022, billed alongside Avishai Cohen, Yonathan Avishai, and drummer Ziv Ravitz on Naked Truth, drawn from the same working quartet behind Cohen's ECM albums. Since returning to Israel in 2016, Mori has taught at the Jerusalem Academy of Music and Dance.

Mori's playing sits in a post-bop and hard bop tradition, shaped by decades as the bassist of choice for two of Israeli jazz's most internationally established figures. His versatility across straight-ahead jazz, vocal accompaniment (Madeleine Peyroux), and Cohen's more electro-acoustic ECM-era work reflects a career built on session reliability as much as a distinct leader identity.