Review: Trance’n’Dancin, Stacy Meyn, Global Rhythm, Dec 2006

Australian composer/arranger Kim Sanders has traversed the globe for over two decades, assembling a CV resembling a patchwork quilt (cane-cutter, “meatworks labourer”, documentary film researcher) in the process. He’s performed in some unusual global hot spots, including Senegal, the Balkans, China and Indonesia – basically every continent except Antarctica, and that might be next. Sanders’ instrumental abilities are broad: Macedonian, Turkish and Bulgarian gaidas (bagpipes), Bulgarian and Turkish kavals (wooden flutes), saluang (Sumatran flute), furulya Hungarian flute), ney (Turkish flute), tenor saxophone, tin whistle, drums, percussion and a host of other ethnic instruments. On his latest etherial romp, Trance’n’Dancin, Sanders features the ney, gaidas and…Hammond organ.  Pal Peter Kennard helps out on bendir (frame drum), darabukka and megabukka (Middle-Eastern drums), riq (Egyptian tambourine), surdo (Brazillian bass drum) zills (finger cymbals, wood-blocks, harmonium, keyboards, gong-on-a-mattress and…”dried budgies”. Trance’n’Dancin is primarily Turkish music, opening with a beloved makam (important note joining a tetra- and penta-chord). Other songs range from straight-up bop to Dervish trance tunes.  The album tries to inspire the titular actions in listeners, and succeeds.

– Stacy Meyn, Global Rhythm, (U.S.)Dec 06 (