Kim’s Story – or “the Ballad of Mr. Kim”

Kim with Glen Doyle, Solo International Ethnic Music Festival, Indonesia, 2008

Kim with Glen Doyle, Solo International Ethnic Music Festival, Indonesia, 2008

One time cane-cutter, meatworks labourer and documentary film researcher, World Music pioneer Kim Sanders has steamed up the coast of Sumatra in a tramp steamer full of rubber, survived border crossings with Georgian gun runners and been arrested for spying by a Macedonian Brezhnev lookalike. He has played on national radio in Bulgaria and national TV in Indonesia, with Gypsy wedding bands in Macedonia, in mosquito-ridden clubs in Gambia, tavernas in Greece, tea-houses in China and concert-halls from the Ataturk Cultural Centre in Istanbul to the Sydney Opera House.

Gypsy wedding band, Berovo, Macedonia, 1985

With Gypsy wedding band, Berovo, Macedonia, 1984

In ’84/5 Kim spent eighteen months studying and performing in the Balkans, Turkey and Gambia and Senegal in West Africa where he played with the Libidorr Band. In ’93/4 he returned to Turkey and the Balkans and performed with Turkish/Greek group Phanari tis Anatolis (aka Bosphoros or Anadolu Fener), Zimbabwean mbira-player Stella Chiweshe and musicians from the Filip Koutev (Bulgarian State) Ensemble. He performed solo on Radio Sofia and recorded with Phanari tis Anatolis and Turkish singer Oguz Yilmaz.

With Bayang-Bayang, Jogjakarta, Indonesia, 1996

With Sawung Jabo’s Bayang-Bayang, Jogjakarta, Indonesia, 1996

In ’96 he toured Indonesia with Sawung Jabo’s innovative music/dance production Bayang-Bayang and returned to Indonesia in 00 and 03 with Indonesian-World group GengGong, in 05 and 07 with Trio Dingo and in 06, 07 and 12 as soloist. He has recorded in Indonesia with GengGong and singers Setiawan Djodi and Oppie Andaresta.

In ’00/01 Kim returned to Turkey to continue his studies in Turkish Classical, Sufi, Gypsy and folk music. He performed with Laz musician Birol Topaloglu and with the Turkish Ministry for Culture’s Istanbul State Modern Folk Music Ensemble. He was the subject of a short documentary on Turkish television. He returned to Turkey in 07/08 and studied with ney master Ahmet Kaya and Gypsy clarinetist Selim Sesler. Amongst others he performed with percussionist Okay Temiz and with the Turkish incarnation of Kim Sanders & Friends.

Performing with Tianchuang at the Jintai Museum, Beijing, 2004

With Tianchuang at Jintai Museum, Beijing, 2004

In 04 he performed in Beijing as a soloist and worked with pioneering Chinese World-Jazz ensemble Tianchuang.

In Australia Kim was co-leader (with Linsey Pollak) of Australia’s first World-Jazz band (Rabadaki, 79) and has since played with musicians from every continent except Antarctica (including Flamenco Dreaming, Nakisa, Okapi Guitar Band, Seaweed & Wire, Chichitote, Davood Tabrizi, Descendance and Balcano). He performed with Zülfü Livaneli and Fatih Kisaparmak (Turkey), Bahar (Iran) and the Bisserov Sisters (Bulgaria) on their Australian tours.

With Birol Topaloglu, Istanbul 2008

With Birol Topaloglu, Istanbul 2008

In the 90s he lead legendary “Gypsy-Afro- World” band Brassov and worked with Bulgarian folk singer Silvia Entcheva in the Silvia Entcheva Trio.  He also performed in Australia with GengGong and led various ensembles featuring musicians including Indian tabla master Bobby Singh, Macedonian clarinettist Bobby Dimitrievski, Greek singer/bouzouki-player George Doukas and jazz masters Sandy Evans and Toby Hall.

Wedding in The Gambia with Bas Jobarteh, 2005

Wedding in The Gambia with Bas Jobarteh, 1985

Kim plays Macedonian, Turkish and Bulgarian gaidas (bagpipes), aardvark (Australian-Turkish- Bulgarian bass bagpipe); Bulgarian and Turkish kavals (long wooden flutes), saluang (Sumatran flute), furulya (Hungarian flute) and ney (Dervish flute); mey, duduk, guanzi (Turkish, Armenian, Chinese double reed instruments); zurna (Turkish/Balkan shawm); tenor sax; tin whistle; davul (dauli, tapan)(drum) and small percussion. He also arranges ensembles for special events, and composes music for films and stage productions.

Kim also taught gaida, kaval, mey, ney, duduk and theory.


With Madurese group Semut Merah, East Jave Persussion Festival, 2008

With Madurese group Semut Merah, East Jave Persussion Festival, 2008

“Masterly control of subtlety…very soulful playing” – Diaspora Worldbeat Magazine

“Sanders’ skills as an instrumentalist are impressive… (As a composer, his work is) new and genuinely exciting” – Chris Williams, fROOTS Magazine (UK)

“I will never view animals in quite the same way after seeing Sanders’ inflated menagerie of bagpipes. But it was the saxophone that most warmed the blood: a big, braying honking beast of a thing that could unexpectedly whisper sweet nothings in your ear” – John Shand, Sydney Morning Herald

Recording with Phanari tis Anatolis, Istanbul 1993

Recording with Phanari tis Anatolis, Istanbul 1993

“Virtually a force unto himself in world music scenes” – Drum Media

“…the magical voice of Kim Sanders’ saxophone” – Yogja Pos, Indonesia

“There are no more than a few Australian musicians who have made certain types of folk music their stamping-ground. Multi-instrumentalist Kim Sanders is one” – Australian Financial Review

With Stella Chiweshe, Istanbul 1994

With Stella Chiweshe, Istanbul 1994

“Kim Sanders was particularly effective on Turkish and Macedonian bagpipes, peeling off lines that were both inventive and convincingly idiomatic.” – John Clare, Sydney Morning Herald

“More, more, more!” – Kuranda Seyit, Australian Muslim News

Click here for a downloadable interview with Kim on the Jazz and Beyond Web site

and click here to hear Hans Stoeve of 2SER-FM talking with Kim

To hear some of Kim’s music, and links to videos, see the “Hear the music” page and the “Links” page


 Kim Sanders’ Music – book launch

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. 

montage.stnd.091019Sunday, 27th October, 6 for 7pm

Camelot Lounge,

19 Marrickville Rd, Marrickville

(cnr Railway Pde)Near Sydenham Station

Plenty of unrestricted on-street parking






We had a fabulous night – how could we not? – amazing musicians playing wonderful music.  And for John Shand’s opinion read below _


Celebrating the legacy of a musical original

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.

Musical visionary: The late Kim Sanders playing the gaida.
Musical visionary: The late Kim Sanders playing the gaida.

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.




Title Artists Publisher Year ID Format
Pachacuti Tony King Pachacuti 2010 pach 0810 cd
Om Spiritus – Music for a Peaceful Planet India Jiva Medicine Music 2009 MM113 cd
Son of a Lion –  original film soundtrack music by Amanda Brown 2008 Think1004 cd
NSW State of Play 2008 compilation NSW Folk Federation 2008 NSWFF0801 cd
The Continents Mark J Saliba World Premier Recording 2008 cd
Bent Grooves Kim Sanders & Friends self 2007 MMKS 002 cd
Universal Mother India Jiva Medicine Music 2006 mm108 cd
bondi-chill rick.e.dee Chill out factor 2006 COF-BC 0601 cd
Trance’n’Dancin Kim Sanders with Peter Kennard self 2005 cd
The Well of Yearning Caiseal Mor Mor/Kennard 2003 cd
The National – 35 years of Australian National Folk Festival compilation Nat’l library of Australia et al 2003 cd
Mosaic – Music from Around the World compilation The Australian Institute of Eastern Music 2002 AIEM CD3 CD3 cd
You can’t get there from here Kim Sanders & friends self 2002 cd
Not Just Music GengGong WotCrossCultural Synergy 2000 MSCD 0258 cd
Fasil Hicaz Turkish Art Music Ensemble Sabahattin Akdağcik School of Music Mosaic 1999 SASOM cd
The Donkey Drank Wine Silvia Entcheva Trio self 1998 cd
The Water of Life Caiseal Mor & Friends EarthWorks 1997 EW 10005 cd
Chronic Rhythmosis Brassov Rufus Records 1997 RF032 cd
Venus in Eritrea a play Stolen Planet Productions 1997 cd
The Song of the Earth Caiseal Mor & Aisling 1996 mpva1005 cd
Flamenco Dreaming Jose Calcarco self 1996 FDCD-9671 AMCOS cd
Phanari tis Anatolis Phanari tis Anatolis Music Box International 1994 MBI 10608.2 cd
Camels in the City Nakisa Sandstock Music 1991 SSM 043CD cd
Chichitote Chichitote self 1991 cassette
One (0 to 9 Series) compilation ABC Radio 1989 836 862-1 LP
Inşallah..If god wills it Nakisa Sandstock Music 1988 SSM 032 cassette  LP
Seaweed & Wire Seaweed & Wire self 1987 cassette
Nakisa Nakisa self 1986 cassette
Tansey’s Fancy Tansey’s Fancy self 1983 CF003#1 cassette  LP

There are other recordings of Kim – such as with Oppie Andaresta, Oguz Yilmaz, Setiawan Djody, Blair Greenberg, Turkish Art Ensemble, and a Music Deli (ABC Radio) compilation – but I have no copies or details about them. LD

LD 2019



Title Director Date
‘and/or = one’  Briann Kearney 1982
‘Içimizden Biri’ Turkish language Arslan Kacar 1986
(one about a bulgarian singer who migrated to Australia ) 198?
‘Pandemonium’ Haydn Keenan 1987
‘Luigi’s Ladies’ Judy Morris 1989
‘Dead to the World’ Ross Gibson 1991
‘You’re not alone’ (Turkish language)(musical director) 1993
 ‘Babble On’ Persian program in SBS Series 1995
‘Dead Letter Office’ John Ruane 1998
 ‘Day of the Roses’ TV mini series. Peter Fisk 1998
‘Soft Fruit’ Christina Andreef 1999
‘The Human Journey’ Roger Scholes 2000
‘Serenades’ Mojgan Khadem 2001
‘Horses: The story of Equus’ Michael Caulfield 2001
‘Australians at War’ TV series 2001
‘Afghanistan: Drugs, Guns & Money’ Ashley Smith 2002
‘Mona Lisa’ Sotiris Dounoukos 2004
‘Allah Calling’ Shahid Sayed 2006
‘Romulus my Father’ Richard Roxburgh 2007
‘Son of a Lion’ – see discography Benjamin Gilmour 2007
‘Unfinished Sky’ Peter Duncan 2007
‘Killer Elite’  starring Robert de Niro Gary McKendry 2011

This list is probably not everything that Kim was involved in.

  LD. August 2019


Kim performed live music for

“Flamenco Dreaming”, Descendance, 1996, dir.Jose Calarco

“Bayan-Bayang”,  Sawung Jabo (dance/music production)1996

“Kelly’s Republic”, Festival of Sydney 1997, mus. dir. Peter Kennard

“Dr. Akar’s Women”, Griffin Theatre Company at The Stables 2001, with Sabahattin Akdagik

“Who Dies? “Kinetic Energy Theatre Company 2006

“Undiscovered Land – Voyage 2”,  Kinetic Energy Theatre Company 2006

“Village space”, Theatre in Education, Kinetic Energy Theatre Company 2006-2007

Kim was also involved in productions for Sydney Theatre Company, South Australian State Theatre Company, Bell Shakespeare Company and Belvoir St Theatre Company, but I am not sure in what capacity – session recording, or live performance or composition.

Sept 2019 LD


Obituaries for Kim

Obituary by David Kelly,

Published in The Australian, December 16, 2013

Musician Kim Sanders touched by travel

KIM SANDERS – Musician

Born Sydney, March 30, 1948. Died November 26, Sydney.

WHEN Kim Sanders died, his Facebook page filled rapidly with more than 250 messages of grief and regret from people around the globe: an orchestra with which he’d toured in Gambia in the early 1980s; musicians with whom he’d played; and fans of Turkish, Macedonian, Hispanic, Slavic, Indonesian and Indian music.

He seemed to have arrived only when he had departed.

Ranging from the highly danceable to the deeply meditative, Sanders’s music gives the impression he was a prodigy from youth. Yet he had acquired his mastery mainly in adult years.

The resulting oeuvre, strikingly original and beautiful, was capable of converting listeners of all backgrounds. Those who tracked Sanders’s career describe his genre as “world music”. But the jury is out on a perfect label.

In recent years he was recognised as a master of classical Turkish music. Growing up at Avalon, on Sydney’s northern beaches, he kept a surfboard handy, sometimes on the roof of his car, for much of his life.

He went to Sydney University, where he took first-class honours in philosophy with a thesis on philosopher Herbert Marcuse.

Upon graduating, he won a traineeship in TV production at the ABC, and worked as a freelance video cameraman, often shooting football fixtures. During his 20s, a hepatitis infection would ultimately cost him his TV production career and gradually wear down his health.

It was at this time that he took up music seriously.

A jazz lover versed in the music of Charlie Parker, John Coltrane, Roland Kirk and many others, Sanders developed an interest in ethnic genres, instrumentation and the musical lore of Don Cherry, Abdullah Ibrahim and the like. Starting with saxophones and flutes, he built his own musical language on the basis of methodical study. Jazz mixed European and West African sounds and rhythms, adding Latin influences for a variety.

Sanders took seriously the need to develop an Australian sound, finding his variety in a mix of indigenous, Middle Eastern and eastern European sounds.

Travel was to play a major part in the musician’s story. Sanders, with his partner, singer Linda Dawson, did it the hard way, exploring Turkey, Greece and surrounding lands during the 70s and 80s. Sanders learned a number of instruments first-hand, his favourite being the gaida, of the bagpipe family, often made from the hide of a goat. Given his background, it was a natural step for Sanders to join a movement that could fairly be called “world jazz”, a breakout from the imitative jazz so deeply embedded in Australia.

Internationally, John McLaughlin, Rabih Abou-Khalil and bassist Avishai Cohen were following similar impulses. Sanders and his collaborators were in on it from the beginning.

He made his mark not only in Australia, but also touring Turkey and Greece. He featured with the rock band GengGong in Indonesia for many years and spent a memorable month in Beijing in 2004, playing concerts and lecturing in world music at the Central Conservatorium of Music.

He worked with musicians from dozens of countries and leaves behind a large body of recordings and compositions.

He is survived by Dawson, their daughter Phoebe, and son Tom.




Obituary by Seth Jordan (ed LD)

Kim Sanders: World music pioneer was also a top jazz performer….


KIM SANDERS 1948-2013
The Musical Traveller, Student and Teacher

The multi-instrumentalist musician/composer Kim Sanders liked to blow into things. Whether it was a tenor saxophone, a Turkish ney or some strange Balkan bagpipe made from a goatskin, his array of multicultural wind instruments, as well as his encyclopedic knowledge of their histories, were a sight and sound to behold. A true pioneer of what has come to be known as ‘world’ music, Sanders was also regarded as a formidable jazz player.

Sanders was born in 1948 and raised on Sydney’s northern beaches, the son of local GP John Sanders and his wife Margaret. Kim’s brother Glenn remembers him riding billy-carts down Avalon’s main street, back when it was just a sleepy holiday village. “Kim was always a bit of a rebel and a genuine larrikin. He was a dedicated board surfer, possibly one of Australia’s first barefoot water-skiers, and a fan of ‘proper’ cricket” – an avid sportsman.”

Brought up listening to his father’s classical and jazz record collection, which included Dave Brubeck and John Coltrane recordings, Sanders first taught himself bongos and guitar, then banjo, finally taking up the saxophone at age 18. After earning a BA at Sydney University with a major in Philosophy, he began mixing with an eclectic crowd of creative musicians and artists. He worked as an ABC cameraman for a time, and his interest in ‘ethnic’ folk music soon began to take hold.

In 1979 exploring Greek rebetika tunes and other exotic sounds, in he sought out multicultural musician Linsey Pollak (himself freshly back from the Balkans), who introduced Sanders to the mesmerising reedy sound of the Macedonian gaida – an earthy folk bagpipe, that Kim referred to as an ‘inflate-o-goat’.

Sanders and Pollak founded early Sydney groups Rabadaki and Strantsi, playing for monthly multicultural dances organised by folk enthusiast Gary Dawson in the Australia Street school hall. In the summer of 1982/83 they embarked on a series of Sunday afternoon Balkan music gatherings in Newtown Park, which attracted hundreds of fans, prominently from the Macedonian community.

Sanders spent most of ’84-’85 on an extensive overseas journey with his partner Linda Dawson, exploring folk traditions in Greece, Bulgaria, Yugoslavia, Turkey, Senegal and Gambia. “We would go into local coffee houses and cafes, and Kim would just pull out some instrument, play a bit to impress the locals and then ask if anyone had a grandfather who knew how to play it properly”, recalls Dawson. “And inevitably someone would, and we’d be taken there. Kim once found a cassette tape of a Turkish-Bulgarian gaida player Kamil Gul, who he thought was fantastic. We spent the next few days going from village to village up near the Bulgarian border, trying to find him. We had to deal with officials and a village Hamdi (headman) who tried to put us off, saying that Kamil was a really bad man. But Kim persisted and we eventually found him, ended up visiting for three days, then going back later to stay with him and his family for a week.”

“Kim was always after that real authentic sound and he was fascinated by the physics of the instruments themselves – how the sound was actually made.”

As he travelled, Sanders added other instruments to his [eccentric] musical arsenal – the Armenian duduk, Turkish mey, Hungarian, Sumatran and Dervish flutes, and a hybrid Australian-Turkish-Bulgarian bass bagpipe that he dubbed ‘the aardvark’. His collectionwas kept in good repair by instrument maker and friend Risto Todoroski.

[On his website, Sanders described his travels by recalling that he had “…steamed up the coast of Sumatra in a tramp steamer full of rubber, survived border crossings with Georgian gun runners, and been arrested for spying by a Macedonian Brezhnev lookalike. (I have) played on national radio in Bulgaria and national TV in Indonesia, with Gypsy wedding bands in Macedonia, in mosquito-ridden clubs in Gambia, tavernas in Greece, tea-houses in China and concert-halls from the Ataturk Cultural Centre in Istanbul to the Sydney Opera House.”]

Sanders became a key member of several influential cross-cultural folk groups that were springing up in late-80s Sydney – including Tansey’s Fancy (featuring Pollak, Mara Kiek, Llew Kiek, Doug Kelly); and Nakisa (which included Llew Kiek, Davood Tabrizi, Linda Marr, Tony Lewis and Sabahattin Akdagcik).

Marr affectionately remembers Sanders as a musical perfectionist. “Whether Nakisa was playing at the Opera House, on ABC Radio to thousands of listeners, in a small venue to just a few people or a classroom full of school children, Kim always insisted that the music be of the same high calibre and remain traditionally-based, but with a modern interpretation.”

In the 1990s Sanders founded the innovative jazz/world ensemble Brassov, and worked extensively with Bulgarian vocalist Silvia Entcheva. Often invited to perform with touring international musicians from Turkey, Iran and Bulgaria, he was also a frequent visitor to Indonesia – where he regularly toured with musician/choreographer Sawung Jabo and their collaborative Indonesian-world group GengGong, and Trio Dingo with percussionist Blair Greenberg and Ron Reeves.

In recent years Sanders’ main musical vehicle was the aptly named ‘Kim Sanders & Friends’, an ever-changing line-up that featured the cream of Sydney’s world/jazz musicians. The ‘Friends’ included such notables as jazz saxophonist Sandy Evans, Indian tabla master Bobby Singh, Macedonian clarinet/sax player Blagojce Dimitrevski, trombonist James Greening, baritone saxman Boyd, sousaphonist Sam Golding, bassists Steve Elphick and Mark Szeto, percussionists Peter Kennard, Mustafa Karami Blair Greenberg, Tony Lewis, Ron Reeves and Toby Hall,  as well as veteran collaborators Llew Kiek, and.Marr.

Reviewing one of Sanders’ live performances, Sydney Morning Herald reviewer John Shand wrote, “I will never view animals in quite the same way after seeing Sanders’ inflated menagerie of bagpipes. But it was the saxophone that most warmed the blood: a big, braying honking beast of a thing that could unexpectedly whisper sweet nothings in your ear.”

Sanders’ albums included Bent Grooves (2007), Trance’n’Dancin (2005), and You Can’t Get There From Here (2002), along with Brassov’s Chronic Rhythmosis, GengGong’s Not Just Music, Silvia Entcheva Trio’s The Donkey Drank Wine, and Nakisa’s Camels In The City and Insallah.

In 2010, when the book World Music: Global Sounds In Australia (UNSW Press) was being researched, Sanders name came up repeatedly. With his characteristic dry sense of humour, he drolly commented, ‘So it seems I’ve gone from being a World music pioneer to being a World music legend, without ever having gone through a lucrative period of being a successful working musician.”

A lifelong student/collector of unusual tunes, odd time signatures and counter rhythms, Sanders was also a revered teacher, lecturing and giving workshops at universities and festivals, designing multicultural school programs for Musica Viva and state arts councils. Attesting to his reputation within local communities, his own private students came from diverse ethnic backgrounds.

Long-time musical associate Peter Kennard states, “Kim’s legacy for me lies in his ability to bring the various elements and formative principles of the forms he studied, and fuse them together in a way that was deep and respectful to all sources – yet creating new music that had its own voice.”

“Kim’s interests also connected him with the diaspora communities here in Australia – and indeed brought key members of these communities together to celebrate and create something new, reaching across social divides to create new audiences.”

Sanders died on Tuesday 26 November of liver failure and associated complications. He is survived by his life partner Linda Dawson, mother Margaret, daughter Phoebe, son Tom, brothers Glenn and Stafford, and sister Nicola.


The Kim Sanders Memorial Picnic and Concert will be held on Sunday 2nd February,2014 from 4-9pm, on the Green and in Gumbramorra Hall at Addison Road Community Centre, Marrickville.


Historic Bands & Events


Kim Sanders’ Music Book

About the book:   KS Book cover emails

Kim died in 2013. He was an important figure in Australia’s early multi-cultural or ‘World’ musical development This book is a collection of his life’s work as a composer, writing for his own world/jazz ensembles (chiefly Brassov and Kim Sanders & Friends), and the scores reflect a variety of arrangement models from lead sheets to 6-part band arrangements.

Known in folk, world and jazz circles, Kim often performed music from several different cultural groups (particularly Balkan, Turkish, Indonesian & West African) however the book contains only his original compositions. They are equally informed by those key cultures and his other great loves and major musical influences – jazz and improvisation.

We (Linda Dawson, Mara Kiek and Llew Kiek) feel that the book has potential as an educational resource for senior high school students and tertiary music students studying world music and jazz fusion, but it is primarily intended as a general resource for any musicians interested in sourcing contemporary Australian world/jazz repertoire for a range of ensembles, from large band formats to small ensembles.

The book is distributed as a single item (A4 in either wire or perfect binding).

CDs are available of Kim’s ensembles which contain recordings of much of the repertoire, and in a few cases, two recordings of the same work with different arrangements.

Please contact me, Linda Dawson, via for information and to place your orders.

You may also order his CD’s    Tshirt 1546415_650165711691449_1549086686_n

and your very own Kim Sanders memorial T Shirt.

Purchases may also be made from Mara Music 


“Kim’s book is absolutely amazing. So beautifully, lovingly and carefully presented…and such an amazing resource and tribute.”  Sandy Evans


“On the one hand his composing is a celebration of disparate cultures and their sounds, but it is also a celebration of our commonality.”  John Shand


“Those familiar with Kim Sanders know that he … immersed himself first-hand in the cultures he [drew] from, living, travelling and making music in all these places.”  Bradfield Dumpleton


“Strip all else away and Kim Sanders’ sinuous compositions are timeless and ebullient cries of elation at what it is to be human.” John Shand


“Sanders [was] a relentless champion of world music.”  Jaslyn Hall

September 2019


Kim Sanders montage

Kim Sanders’ Music – book launch was held at Camelot Lounge, Marrickville on Sunday, October 27 2019

See Events page for more details.

October 2019





Kim Sanders' Music

Kim Sanders’ Music

After 4 years of work, I am excited to announce that the book “Kim Sanders’ Music” is now available.

It contains most of Kim’s compositions – 39 tunes, some full scores, some simple lead sheets, including “Kong’s Dream” and “Istanbul Bluesu”. All are waiting to be played by musicians who want to have fun with bent grooves and the occasional quarter tone.  Kim explored rhythms and scales of music from many lands and incorporated them into his compositions.

December 2018

Please contact me, Linda Dawson, via for information and to place your orders.

You may also order his CD’s    Tshirt 1546415_650165711691449_1549086686_n

and your very own Kim Sanders memorial T Shirt.


Linda D.

January 2019
This Project was supported by Inner West Council through an Arts and Cultural Grant, and by many wonderful friends and relations.


Kim died in November 2013.  His music lives on in the memories of those who loved him, those who played music with him, and those who listened.

Some of his knowledge has been passed on through his music charts, and this website. His music can be heard on existing recordings, and accessed from the book “Kim Sanders’ Music”, published in 2019.

If you’d like more information, or want to buy the book, or any of  Kim’s recordings, contact

You can read more about him and his work in the following pages.


The launch of “Kim Sanders’ Music” into the world took place on Sunday 27 October 2019, at Camelot Lounge, Marrickville… was a blast!

See “Events” page

Because of the spam deluge, “Comments” have been disabled for this website.  If you would like to comment on any aspect of Kim’s musical activities you can do so by email ( or on the “Kim Sanders World Music” page on Facebook ( ).


Kim’s Instruments

Since Kim’s death in 2013 most of his instruments have found new homes, but not all. Contact Linda D. at with enquiries.


“I play many instruments.  Some of them have stories as well”



A hybrid Turkish, Bulgarian, Australian bass bagpipe.  There’s only one in the whole world, and this is it.  The range is an octave plus a major third. The basic scale is Turkish Ussak scale – like Aeolian Minor with the second flattened by a quarter-tone. The bag is goat-skin. The chanter is made from Cooktown Ironwood and the drone from privet.

A Tale of an Aardvark

On my first trip to Turkey in 1984 I saw a cassette of gaida (Balkan bagpipe) music in a shop – rare in Turkey. I bought it, and it was fantastic. Guy by the name of Kamil Gül (“Perfect Rose” in Turkish). I thought I might follow it up, maybe score some lessons. I rang the record company to find out how to get in touch: “Dunno,” they said, “We think he lives in Lüleburgaz…” So Linda and I got on a bus to Lüleburgaz, checked into the El Sleazo Hotel, and did what I have done many times on my travels: headed for the local tea-house (or taverna, or equivalent), whipped out an instrument (in this case a gaida) and, played a tune (to establish local street cred). After which I asked if anyone knew Kamil Gul, gaida-player…After a while, someone appeared who had heard of him; but we had to wait for the other guy who knew a guy who knew a guy whose uncle had a car…who arrived in the fullness of time and we headed off to the address. There were wild dogs and other diversions along the way, but we eventually established that he didn’t live there anymore. Dang! Up to this point, everyone had been telling us (as best they could, given that they had no English, and my Turkish was, at this early stage, fairly rugged) that this guy was a Bad Man, a motherf****r, a fatherf****r, who would rob me, rape Linda etc etc, which I was inclined to take with a grain of salt, reasoning that anyone who could play gaida like that couldn’t be all bad…We were eventually taken to meet The Doctor (head of the local hospital), who could speak English (sort of), and who explaıned that Kamil Gül was a very bad man, motherf***r etc etc and advised us not to proceed with our quest. By this time, I was getting stubborn, and dug my heels in. The Doctor was a bit strange. His wife, apparently, had been some sort of Beauty Queen. They had gone to Canada several years before, but had had to return to Turkey on account of her (unspecified) “psychological problems”. He offered us accomodation in the hospital, which seemed strangely deserted…At this point the whole thing felt like it was beginning to turn into a horror movie, so we declined, and took our leave as rapidly as possible.

Next day, it was back on the bus to Kirklareli, near the Bulgarian border. Our man allegedly lived in a nearby village. We needed the permission of the Hamdi (headman) of the village, who actually lived in the town; so we went to his place, and were immediately adopted as Guests, in the sometimes suffocatingly hospitable Turkish manner. The Hamdi couldn’t understand why we’d want to go to all this trouble to meet some vulgar villager. He insisted we stay the night, which we did, dutifully chatting with his Nice family, watching a Nice variety programme on tele before putting on the Nice pyjamas they gave us (we didn’t have any with us in our rucksacks at the time) and going to bed (mmmmm, soft…). Next day we got the 6am minibus to the village (twice daily service) and hit the Official Office. They sent for Kamil (though they still couldn’t understand why we were interested), and eventually dragged him up, unshaven and wondering what the hell was happening, and was he in deep sh*t for some reason?

Kamil Gul

I introduced myself, explaining that I was from Australia, a gaida-player who dug his cassette, and wanted to talk, have a bit of a blow, and maybe get a lesson or two. He was a little suspicious (as you would be), but after a while loosened up a bit, and invited me back to his place. This did not go down too well with the officials, who could not understand why I would want to commune with this nebish rather than exchanging small-talk with them. Inevitably, he turned out to be a very sweet guy, as was his wife Bedriye, and we had a ball playing and singing all day. It turned out that the Bad Guy reputation came from one of his sons, who had been arrested in the company of a Swedish tourist who had one joint in his pocket (and was serving an “indefinite” jail sentence – he did about 18 months, as it turned out), and his daughter, who, we were told by some old ladies of the village, had “gone to be a prostitute in Istanbul” (not true, as I suspected: She had gone to Istanbul, as I later discovered, but more to escape village closed-mindedness than to flog the bod…She was working as a hairdresser) One thing was for sure: Kamil could play a gaida just like a-ringin’ a bell, and when he was playing he wasn’t in a two-roomed house with dirt floors in a village in Turkey, he was way, way out in Gaida-Land. We had to leave at 6pm on the minibus, but we commuted there and back for three days, and then went to Greece for a festival we wanted to check out, promising to return. This we did, and bulldozed our way through the Polite Hospitality in the town, arguing that Kamil Bey had invited us to stay in his house, and it would be impolite to refuse. They couldn’t get round that one. We stayed a week, I got some lessons and learned a lot of tunes. I was allowed to slip him a few bucks for the lessons (paying for bed and board being out of the question, of course). A magical time was had. The neighbours would cram in, and sing, eat, dance, Kamil and I (and assorted darabukka-players) would play and play… And then we left, and I never saw him again. Back in Australia, I wrote, but they had moved, and I lost touch with them. In 2001, whilst studying in Istanbul, I followed up a very tenuous lead on the daughter, expecting a wild goose chase (had a few of them on the travels!). But to cut a long story short, I eventually did track her down to a town 80 km out of Istanbul on the bus. So (the day before I was returning to Australia), I went up there. Kamil had died three years previously (dang!), but Bedriye was well; and the whole family (five kids, now grown up, of course, including Ruhi, the only one we had met – he was five then. He was now 22, but had gone a bit feral in the meantime, and hadn’t seen his mum for two years… After eating, I took out my gaida, and played, and I had this strange feeling that it was Kamil playing…Ruhi had to go out into the hall for a bit of a cry (and he wasn’t the only one). I was crying too… And that’s the story. He was the wildest, grooviest, craziest, swinginest gaida-player I ever met, and my CD You Can’t Get There From Here was dedicated to him.

Evolution of the Aardvark

Linsey Pollak

Kamil was half Bulgarian, half Turkish and had made his own gaida similar to Bulgarian in construction, but with Turkish fingering and scale. I measured it up as best I could with a school ruler, and sent the measurements back to Australian musician and instrument-maker Linsey Pollak, who had introduced me to the Macedonian gaida many years before. A year or so later, Linsey presented me with his bass version – what a great sound! The drone was a bit of a problem, though.

To make it short enough so it wouldn’t bang on the ground, he had to make the bore narrower than it should have been, which had the effect of making it a bit unstable – it tended to jump around between various overtones. So I figured what I needed was a u-turn at the bottom and some kind of classy spout thingie. This would give the extra length that would solve all the problems. Linsey was too busy, so I asked Craig Fischer, a maker of uillean pipes in South Australia, to do it.

Aardvark drone

Sure enough, five years later, the new drone arrived (with a loop-da-loop instead of a spout). Fantastic sound, and solid as a rock! In the meantime, I had made a discovery. Many wind instruments have big or little holes near the end, called end-correction holes. They are developed by trial and error, and make the instrument play in tune right at the bottom of the range, where all that stuff you learn at school about sine-waves in tubes goes a bit wierd and doesn’t work any more. I discovered that if I closed the end-correction holes with the inside of my knees (whilst sitting), I could get an extra low note – and a very useful one at that (the 5th of the scale).

Aardvark chanter Mk I (rear) and Mk II (showing Nicholson key)(front)

I recalled the scene in “Five Easy Pieces” ( where Jack Nicholson, frustrated at not being able to get a serve of plain toast, tells the frowsy waitress in the diner to give him a chicked sandwich, hold the chicken between her knees, and give him the bread, toasted (she was very impressed). So I figured that what I needed was a Nicholson Key to let me close the bottom hole with my little finger (clasping a gaida between the thighs is not easy when you’re playing into a microphone). So I asked another Scottish/Irish pipe-maker, Ian MacKenzie (of Blackheath) to see what he could do, and he came up with a new improved chanter with a Nicholson key. What we now know as the Aardvark was ready to roll. And it wails! Incidentally, many people think it’s called an aardvark because of its appearance. Certainly it is hairy, has a long snout, and two beady little eyes. But it is actually called an aardvark because that’s what you say when your reeds go out of tune in the middle if a gig and make you look like a complete goose: “Aardvark!




Edge-blown wooden flute found in Macedonia, Bulgaria and Turkey. The joints and blowing-edge are made of buffalo horn or composite materials. In Bulgaria they are usually made in three pieces, elsewhere in one piece. They come in various sizes from about 40 to 80 cm.

Bulgarian 3-piece kaval

Bulgarian 3-piece kaval

My favourite is a three-piece Bulgarian kaval in E,  made from plum wood and horn. It belonged to the father of my friend and teacher Georgi Doytchev.  It is at least 50 years old, probably more, and a beautiful instrument.

Turkish kaval in A

Turkish kaval in A

I also have a low A kaval.  When it finally arrived in Australia (four years and many phone calls after I ordered it in Istanbul!) I discovered it was too long for my little finger to reach the bottom hole, so I asked Ian Mackenzie to makey a key.  Not orthodox, but it works!


Meys, reed

Meys, reed

Turkish double-reed instrument The cylindrical-bore body is made of wood (often plumb or apricot) and the reed (“kamis”) from cane, flattened at one end and left cylindrical at the other. The opening at the tip and the fine tuning of the reed are done by sliding the cane ligature (“kiskac”) along the reed. Circular breathing (like with didgeridu) is often used.The brass plug on the side of my instruments is for a pickup – it is a very soft instrument, and on live gigs a microphone can’t cut it without massive feedback.



My meys were made by Ayhan Kahraman in Istanbul, but he is apparently not doing it these days. My current reeds were made by Adem Ceylan, who also showed me how. It’s kinda tricky! Instruments similar to mey are found from the Balkans all the way to China.  I  have a guanzi from a trip to China in 2005, but I haven’t had time to learn how to play it properly yet.


Macedonian Gaida

Bagpipe with chanter and single drone, made from wood and horn (or, increasingly, composite materials). Chanter is theoretically cylindrical, but sometimes slightly tapered, according to the maker.

gaida blow-pipe showing cage valve

Blow-pipe showing cage valve

The blow-pipe has a valve to prevent the air from going back out the in-pipe. This  is either a leather flap bound onto the mouthpiece, or a disc of leather (or bicycle inner-tube) in a wire cage.

Cane chanter reed

Reeds are single, made of cane.  The bag is made of salted goatskin, with the fur on the inside. This skin was made in Australia by Risto Todoroski (see Links Page).
The gaida is tuned by a combination of any or all of the following: moving the ligature on the reed up or down (thereby making the vibrating tongue of reed longer or shorter),  putting a little piece of beeswax on the tip of the reed, shaving the reed in different places and partially covering particular holes of the chanter by wax.

Horn chanter stock, carved by Risto Todoroski

The drone can also be adjusted by sliding its three component parts in or out. My Macedonian gaida is from Prilep, in Macedonia. It is made of boxwood and horn.  The chanter stock (the bit tied into the bag that the chanter goes into) is from Jack Thompson’s bull Desmo, who unfortunately got stuck in a bog some years ago and drowned.  His spirit lives on.



A very old Armenian double-reed instrument with a cylindrical bore, usually made from apricot  wood, though plum and mulberry are sometimes used. The duduk is similar to the Turkish mey, but with eight finger-holes on the front, and an extra hole at the bottom that can be closed by pressing against the body. Variants are also played in Azerbaijan (balaban), Georgia (duduki), Iran (balaban) and elsewhere. The duduk is commonly played accompanied by a drone (“dam”), using circular breathing. The duduk comes in various sizes and has a total range of an octave plus a 4th, although the easily usable range is one octave.  Mine goes from D to G.

Duduk reed

Duduk reed

The large double reed (“yegheg” or “ramish”) is made from cane, flattened at one end and left cylindrical at the other.  The edges of the reed have pieces of very thin leather glued to them to prevent splitting. The opening at the tip and the fine tuning of the reed are done by sliding the cane ligature along the reed. I got this one from Zafer Tastan in Istanbul in 2008.


The ney plays a primary role in the rituals of the Mevlevi (“Whirling Dervish”) and Bektasi Sufi rituals as well as for for Turkish Classical Music. The Turkish ney is distinct from the Arabic and Persian varieties.

Turkish neys

Turkish neys

The Turkish ney is an edge-blown flute made of carefully-selected cane, usually from Southern Turkey or Syria. The cane must be cut in October/November when the diameter and wall thickness of the cane are most suitable.  The cane must be  carefully dried and often needs to be heated and straightened as well. The “baspare” (mouthpiece) is made from buffalo horn, ivory, wood or, increasingly, composite materials. Its interior is not cylindrical but slightly curved – one of the skills of the maker. The baspare fits into the “bogaz” (throat) or first section of the ney. There are metal rings (“parazvane”) on the ends of the ney to stop splitting. During construction the ney is tuned not only by placement and size of the holes (remembering that every piece of cane is different) but also by the degree to which the interior nodes of the bamboo are opened. The ney has six finger-holes on the front and a thumb-hole on the back.

Baspare (mouthpiece)

Its apparent simplicity hides the difficulty of playing the 53 pitches per octave necessary for playing the complete range of classical makams. Pitches are adjusted by partially uncovering the holes, cross-fingering and changing the angle of the air-stream striking the edge of the baspare. Range is over two and a half octaves. Ney comes in a variety of sizes from the lowest, Davud (lowest note Eb) to the highest Bolahenk (lowest note D). Occasionally smaller neys are found. The neys I am currently playing are by Rifat Varol and Hanefi Kirgiz.

Arabic nai

Persian ney

The Arabic nai is similar to the Turkish ney, but has no baspare – the blowing edge is bevelled like the kaval.  Blowing technique is similar. The Arabic nai ise usually played in a higher range than the Turkish.

The Persian ney is played using the interdental blowing technique, where the player places the ney in his teeth and upper jaw and directs his breath with his tongue – very difficult!


Bulgarian gaida

The Bulgarian gaida differs from the Macedonian in that it has a “conical” bore.  Each maker has his own shape and makes his own tool to bore it. The other dimensions (length, size and spacing of holes etc)  are therefore often quite different between different makers. The range is a ninth.

Bulg gaida blow-pipe showing flap-valve

Blow-pipe showing flap-valve

There are seven finger-holes and a thumb-hole.  The top hole is very small and is therefore called the “flea-hole”.  This hole is used for ornamentation, vibrato and for some chromatic notes.

Composite/cane drone reed

A lot of ornamentaion is also done with the thumb on the back hole. The original salted goat-skin wore out.  This one is tanned, formerly a feral from Percy Island in the Great Barrier Reef, but now a patron of the arts. I got this gaida (in D) through my teacher Georgi Doytchev in Sofia in 1993. It is my favourite – a particularly delicate piece of work. I also have gaidanitsas (chanters) in G, E and D from Traiche Baldzhiev and A and D from Kostadin Varimezov.


Bulgarian kaba (bass) gaida

Bass gaida from the Rhodope Mountains in Southern Bulgaria. This one is from Corey Dale who got it in Bulgaria in 2007.  I swapped it for a Hungarian duda which Laci Lakk got for me in Hungary on a tour in 1988, and which I’ve never had time to get working and learn how to play.

Kaba gaida drone

Kaba gaida drone dismantled

The chanter and bag are by Kostadin Illchev and drone by Todor Todorv. Wood is cornell cherry and stocks are cow-horn. The bag is goat-skin.


Turkish/Bulgarian (“Ganesha”) Gayda

Bulgarian gaida in C (chanter from Kostadin Varimezov) modified by “moving” the fifth hole from the top up a quarter-tone and making the five-fingers-closed hole the tonic (drone)  note (A).

Ganesha gaida stock ready for staining

(It took me three months to pluck up enough courage to take a rat-tailed file to the hole…) Fingering is similar to Turkish zurna and mey.

Ganesha chanter stock bagged up

I had the front stock carved by I Wayan Sudiarta,  a craftsman from Mas in Bali in 2005. It is the Hindu god Ganesh (Lord of Removing Obstacles, Patron of Arts and Sciences and Deva of Intellect and Wisdom).  I stained it (except for the eyes and tusks) to match the colour of the chanter. The other stocks, bag and blow-pipe were made by Cory Dale (see “Links” page).

I also use a standard-fingering Bulgarian A chanter with this set-up.

Tulum from Rize

The Turkish gaydas that I play (Ganesha and Aardvark) are different to the other (more common) type of Turkish bagpipe, the tulum. Tulum comes from the Black sea and is similar to the Pontian (Greek) tsampouna, still played in some of the Greek islands.  It has no drone and a double-chanter with a curved bell (like a saxophone) at the end, sometimes made of horn but usually  from wood.  Some of them have very fancy covers.  See Links page for video of me playing gayda with Birol Topaloglu on tulum in Istanbul, 2008.

TAPAN (aka tupan, dauli, davul, tabla)

Macedonian tapan

Balkan, Middle-Eastern double-sided drum, with a thick skin and a thinner one, played with a big beater and a thin switch. As well as playing its own strokes, the little stick can be placed on the skin, producing a snare affect when the big stick hits the other side.

Tapan sticks

Tapan sticks

My little tapan was made by Risto Todoroski.  I carved the big stick myself from Australian brush-box.  The little stick is plum.


Turkish zurna (Uzbeki necktie)

Turkish zurna (Uzbeki necktie)

Known as “zurla” in the Balkans, the zurna is a wooden shawm with double reed.

Pollock zurna

Pollock extenda-range zurna

Similar instruments are found in the Middle East, Central and East Asia, Indonesia and North Africa. The bore is cylindrical till the bell. The reed is traditionally made from a soft reed flattened at one end and tied onto a staple.  Circular breathing is used to produce a non-stop sound.  Often played in pairs, with one instrument playing melody, the other playing drone using circular breeathing. This technique is also often used on the melody pipe as well. I got the traditional zurna above from Istanbul luthier Yusuf Toraman in 1984.

Zurna reeds

Zurna reeds: cane (rear), plastic straw (front)

I also have a zurna designed and made by Linsey Pollak, incorporating elements from the Chinese suona. This allows the normal range of a ninth to be extended by a flat 6th. Linsey also uses reeds made from plastic drinking-straws – less affected by changes due to moisture.


Saluang, suling, furulya

Saluang, suling, furulya

Saluang (L) is an edge-blown cane flute of the Minang people of West Sumatra. It has only four finger-holes, so a lot of half-holing is done. The blowing technique is similar to ney. Possibly influenced by Arab traders over several centuries. This one was given to me by Sawung Jabo. Another Indonesian cane flute is suling (centre) with a fipple and six finger-holes. This one is a Sundanese suling I got from Agus Super in  Bandung, West Java. Hungarian furulya (R) is another fipple flute, with six finger-holes and no thumb-hole (like a tin whistle). It is in two parts, which allows fine-tuning.  Laci Lakk got this one (made from wood and bone) for me on a tour in Hungary in 1988.


With Tianchuang, Jintai Museum, Beijing, 2004

With Tianchuang, Jintai Museum, Beijing, 2004

Good ol’ Selmer Mk VI. It’s a bit gnarled now (I’ve had it since 1972) but I wouldn’t swap it for anything. I use an Otto Link 7* mouthpiece with Rico Royal 2 1/2 reeds.

Kim’s Teachers

Gaida lesson with Lazo Nikolovski in Skopje, Macedonia, 1985

Bas Jobarteh

Bas Jobarteh

Kostadin Varimezov

Kostadin Varimezov

Pece Atanasovski

Pece Atanasovski

Selim Sesler

Selim Sesler

Haydar Tanriverdi

Neyzen Ahmet Kaya

“Despite what some people think, a good teacher can teach you an awful lot. It saves a lot of time if you can start from square 17 instead of square one. Especially since you only live once.

I owe a huge debt to my teachers especially:

Sabahattin Akdagcik, Baran Asik, Pece Atanasovski, Traiche Baldzhiev, Bob Bertles, Salih Bilgin, Sinan Celik, Ilyas Celikoglu, Timucin Cevikoglu, Don Cherry, Destan Destanovski, Georgi Doytchev, Georgi Dzhelyazkov, Kamil Gul,  Ahmet KayaSongul Karahasanoglu,  Kostas Latas, Riley LeeDave Leibman, Ferdi Nadas, Lazo Nikolovski, Linsey Pollak, Ahmet Sahin, Selim Sesler, Haydar Tanriverdi, Omar Faruk Tekbilek, Risto Todoroski, , Musa Uzunkaya, Kostadin Varimezov, Ali Yilmaz

…and to those who either inspired me or tought me indirectly, including

Allarakah, Albert Ayler, J.S.Bach, Ginger Baker, The Band, Gato Barbieri, Bela Bartok, The Beatles, The Bechuanaland Boys, Capt Beefheart, Tunji Beier, Sotiria Belou, Ed Blackwell, Blind Blake, Carla Bley, Lester Bowie, Goran Bregovic, Lord Buckley, Ray Charles, Avishai Cohen, Ornette Coleman, John Coltrane, Fanta Damba, Miles Davis, Paul Desmond, Eric Dolphy, Don Drummond and the Skatalites, Bob Dylan, Aretha Franklin, Franco, Saffet Gundeger, Charlie Haden, Thassos Halkias, Coleman Hawkins, Jimi Hendrix, Toots Hibbert, Holiday Billie, Dave Holland, John Lee Hooker, Bobby Hutcherson, Abdullah Ibrahim, Elvin Jones, Louis Jordan, Mustafa Kandirali, Nadya Karadzhova, Salif Keita, Ali Akbar Khan, Bismillah Khan, Lord Kitchener, Mile Kolarov, Aka Gunduz Kutbay, Fela Kuti, J.B. Lenoir, Cachao and Cachaito Lopez, Mac Rebbenac, Taj Mahal, Makhona Zonke Band, Bob Marley, Bernie McGann, Charles Mingus, Zigaboo Modeliste, Thelonious Monk, Mothers of Invention, Ferrus Mustafov, Randy Newman, Tale Ognenovski, Sadrettin Ozcimi, Charlie Parker, Cole Porter, Sun Ra, Esma Redzhevopa, Django Reinhardt, Sam Rivers, Sonny Rollins, Niyazi Sayin, Pete Seeger, Archie Shepp, Igor Stravinsky, Tchico Tchikaya,  Ahmet Tekbilek, Neyzen Tevfik, Dafo Trendafilov, Vasilis Tsitsanis, Ali Farka Toure, Jethro Tull, Stanley Unwin, Asik Veysel, Ben Webster, Howlin Wolf, Lester Young, Frank Zappa

Don Cherry

…to all the musicians I have played with over the years, who have been my teachers also, and to people who have tought me all kinds of things informally. These include

Haydar Kekec, Musa Uzunkaya

Reza Achman, Hossein Allaf, Engin Arslan, Suren Asaduryan, Omer Avci, Epizo Bangoura, Raoul Bassa, Jose Barroso, Rigel Best, Peter Boyd, Mirslav Bukovski, Andy Busuttil, Stella Chiweshe, Sean Choolburra, Masood Davoody,  Destan Destanovski, Bobby Dimitrievski, George Doukas, Glen Doyle, Melda Duygulu, Steve Elphick, Silvia Entcheva, Arif Erdebil, Hasan Esen, Christine Evans, Sandy Evans, Wayne Freer, Faramehr Farnoosh, Blair Greenberg, Robert Guzmanyi, Toby Hall, Marcus Holden, Don Hopkins, Kahanan Inisisri, Ercan Irmak, Ugur Isik, Tevfik Isiktimur, Sawung Jabo, Bas Jobarteh, Inisisri Kahanan, David Kelly, Peter Kennard, Tony Lewis,  Takis Kanellos, Vahid Khoshkham Kermanshahi, Abdullah Khoshnow, Llew Kiek, Mara Kiek, Jubing Kristianto, Irfan Kurt, Laci Lakk, Hugo Leal, Libidorr Jazz Band, Zulfu Livanelli, Andonis Maratos,  Mania Maratou, Linda Marr, Pape Mbaye, Con Marankozidis, John Napier, Aziz N’Diaye, Tuna Otenel, Vassiliki Papageorgiou, Eylem Pelit,  Rafly,  Ron Reeves, Mark Robson, Theodoris Rellos, Ashok Roy, Greg Sheahan, Bobby Singh, Christopher Soulos, Simeon Shterev, Sono Seni,  Bale Stojcevski, Davood Tabrizi,  Okay Temiz, Traiche Todoroski, Totok Tewel, Birol Topaloglu, Ubiet, Wendy Upjohn, Robbie Varga, Carlos Villanueva,  Damian Wright and Metin Yilmaz”

…and to those who taught me the arcane arts of reed-making, including Haydar Kekec, Adem Ceylan, Linsey Pollak and Risto Todoroski”

– Kim Sanders

Kim has  lectured and conducted workshops and at Bahcesehir Universitesi (Istanbul), the Chinese Central Conservatorium (Beijing) the Institut Seni Indonesia (Bandung, Solo, Jogjakarta),  Rumah Nusantara and other cultural institutions in Indonesia. In Australia he has taught at the Australian Film, Television and Radio School, the NSW Conservatorium of Music, Sydney University, University of Western Sydney, Monash University, University of New England and Northern Rivers University and at many festivals in Indonesia and Australia. He designed and performed multicultural programmes in primary and secondary schools with Musica Viva and Victorian, Queensland and Northern Territory Arts Councils. He was co-author of Resources Kit book accompanying Nakisa’s work in schools with Musica Viva.


Hear the Music!

YouTube, Facebook etc

There are quite a lot of videos of Kim, including:

Kim Sanders’ Deep Focus – a photomontage tribute with Brassov playing  “Gnome Chomsky’s Deep Focus Boogie Woogie”

Brassov at Bondi Pavillion

The way of the bagpipe (PAN International) – Kim is one of many pipers!

Ron Reeves & Kim Sanders at Simfes 2012 Sawahlunto Indonesia

Kim Sanders & Friends 1 at Camelot, 2013   “Blues for the Balkans”

Kim Sanders & Friends 2 Camelot, 2013

Kim Sanders – Saba taksim – Turkish Sufi ney – Sydney, Australia, Dec 2008

Birol Topaloglu – tulum or Black Sea bagpipe, Kim Sanders – gayda or Thracian bagpipe, With Laz singers and tabla at Gitar Cafe, Kadikoy, Turkey, Dec 2008

Blues for the Balkans by Kim Sanders

Pajdusko (пајдушко) Kim Sanders Sydney Australia Gaida

Greek dance from Thassos Kim Sanders Sydney Australia gaida

Macedonian gaida (Македонска гаjда) Prilepsko oro Kim Sanders

Kım Sanders Gaıda (γκάϊντα) Yiourgia (Υιούργια) Sydney Australia

There are some more YouTube videos listed on the links page.

(When searching for ‘gaida’ in Turkish contexts, spell it ‘gayda’ – that’s the Turkish spelling. Sometimes in Macedonia it is spelled ‘gajda’. Or, if you are set up for Cyrillic, use the relevant one. And don’t confuse our Kim with the German/American female one!)

 If you find more, or if some of these links don’t work, please let us know by email:

Clips and Cuts

Click on the titles below to hear cuts from some of the tracks from Trance’nDancin and You Can’t Get There From Here. We’ve converted them to MP3, but please be patient, they may take a brief while to download.

Bent Grooves

Trance’nDancinT&D f-cover

You Can’t Get There From HereYCGTFH front cover