Promotion and reviews of the book launch 2019
Kim Sanders’ Music
A rare night of music!!
“This is going to blow the roof off Camelot” says Sandy Evans
The long awaited launch of the book of Kim’s compositions is finally on the way.
Members of legendary world jazz ensembles Brassov and Kim Sanders & Friends will join together for one night to play Kim’s wild and haunting music and celebrate launching this book. It is a collection of his life’s work as a composer, writing chiefly for these two bands.
The stellar line-up features original members of both ensembles, including jazz and world music luminaries Sandy Evans, Llew Kiek, Boyd, Mark Szeto, Peter Kennard, Chris Field and James Greening as well as special guest Ivailo Karamanliev on kaval. And other surprises.
Sunday, 27th October, 2019, 6 for 7pm
We had a fabulous night – how could we not? – amazing musicians playing wonderful music. And for John Shand’s opinion read below —
KIM SANDERS’ MUSIC LAUNCH
Camelot Lounge, October 27
This is how cultural treasures survive: because people care enough to ensure they do. A book of compositions by the late Australian music pioneer Kim Sanders was exactly the sort of project the Australia Council should be supporting, rather than propping up bureaucracy-obese companies with low artistic yields. The launch of Kim Sanders’ Music (collated by Linda Dawson and Mara Kiek) saw 12 exceptional musicians associated with the composer reconvene to dance back through a brief history of his work.
Sanders, a pivotal local improviser who played a vast array of reed instruments, was besotted with the music of Bulgaria, Turkey, Senegal and Indonesia. Neither a cherry-picker nor a dilettante, he travelled extensively, immersed himself in these musical cultures, and learned by playing with the locals. But however much Sanders’ compositions nestled within specific idioms, they always sounded distinctively his own. With a fondness for odd time-signatures (such as 11/8, 13/8 and even 17/8), he had a unique gift for investing striking melodies with rhythmic bounce.
Sandy Evans (saxophones) and Llew Kiek (guitars, bouzouki, baglama) co-led an ensemble capable of illuminating the huge diversity of Sanders’ music. There was the extraordinary floating sensation generated by Ivailo Karamanliev’s kaval (end-blown flute) on Impossible Dreams of Sonia (in 7/8), and the deeply mysterious 5/4 groove of Istanbul Bluesu, with its inherent sense of journeying, and Evans very gradually building a solo until she unleashed the full magnificence of her tenor saxophone sound.
Storming through the wilder pieces was the horn section of trombonist and trumpeter James Greening, trumpeter Sam Golding, alto saxophonist Stuart Vandegraaff (who played Sanders’ ney on one piece,) and baritone saxophonist Boyd (who immeasurably fattened the ostinatos). Joining Kiek in achieving combustion were bassist Mark Szeto and percussionists Peter Kennard, Chris Fields and Ron Reeves, while Vasili Haralambous rounded out the celebration playing the instrument most indelibly associated with Sanders’ senses of beauty and humour, the gaida (Balkan bagpipe).
If the man himself wasn’t in the room, his spirit certainly was. The legacy lives on.
Extract from John Shand’s Year in Review SMH 26 December 2019
One dazzling concert launching a book of compositions by the late Kim Sanders was an object lesson in keeping an artist’s legacy alive in the face of our fog-like cultural amnesia, and another exemplified what art does better than governmental policy: foster social cohesion. Universal Rhythms melted away cultural differences in how rhythms are felt and expressed and brought together 25 wildly diverse musicians and singers in the feel-good event of the year.