Kim’s CDs

Bent Grooves

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Magical collective improvisation framed by lush melodies and anchored by hypnotic rhythms, drawing from the traditions of Turkish Sufi and folk music, Balkan Gypsy brass bands, West African grooves, Indian Classical music, flamenco, blues and jazz.

Magical collective improvisation framed by lush melodies and anchored by hypnotic rhythms, drawing from the traditions of Turkish Sufi and folk music, Balkan Gypsy brass bands, West African grooves, Indian Classical music, flamenco, blues and jazz.

Featuring (in order of height): Sandy Evans: soprano and tenor saxes; Carlos Villanueva: charango; Bobby Singh: tabla; Kim Sanders: ney, Turkish gaida, aardvark, kaval, mey, tenor sax, saluang; George Doukas: bouzouki, Greek baglama; Llew Kiek: Turkish baglama; Steve Elphick: double bass.

The CD was produced by Tony Gorman, engineered by Ross A’Hern and mastered by Paul Bryant. The project was assisted by the Australian Government through the Australia Council, its arts funding advisory body.

What the critics say about Bent Grooves

“That asinine term ‘world music’ actually acquires some meaning when applied to the art of Kim Sanders. The Sydney multi-instrumentalist has stewed in musical melting pots from Indonesia to Gambia and is especially steeped in the sounds of Turkey and Eastern Europe. Having absorbed these traditions, he plays within or without them as suits his creative impulses.Sanders’s long-term collaboration with tabla player Bobby Singh stretches the sonic world of Asia Minor eastward, towards the subcontinent, just as Steve Elphick’s bass and Sandy Evans’s saxophone bring jazzier sensibilities to bear. But Sanders never forces square pegs into round holes and his musical imagination unfolds with a marvellous fluidity, like a river being fed by many tributaries, with the main flow mingling beautiful, often melancholy melodies with evocative rhythms and exotic textures.His own braying tenor saxophone, assorted wistful flutes and sometimes imperious bagpipes radiate a joy in having such open dialogues with his gifted collaborators; dialogues that have been superbly recorded.” – John Shand, Sydney Morning Herald

“What I wouldn’t give to have friends like these!…Bent Grooves is an instrumental CD, beautifully measured and layered” – Jaslyn Hall, ABC Limelight Magazine“No ‘world fuzak’ here!” – Doug Spencer, Producer, The Weekend Planet, ABC Radio National

 

Trance’n’Dancin  

Kim Sanders’  CD Trance’n’Dancin is an exploration of trance music, from the etherial flights of the ney flute used in the rituals of Turkey’s Mevlevi Dervishes to the hypnotic dance-rhythms of the Balkans. It also features the world’s first composition for Bulgarian bagpipe and Hammond organ.

Featuring Kim Sanders: Turkish ney (Sufi flute), kaval (Bulgarian wooden flute), Bulgarian and Turkish gaidas (bagpipes), aardvark (Turkish/Bulgarian/Australian hybrid bass bagpipe), mey (Turkish double reed), saluang (Sumatran flute) & Peter Kennard: dhaf, bendir, darabukka, megabukka, riq, zills, gong-on-a-mattress, wood-blocks, dried budgies, surdo, ride cymbal, harmonium, keyboards, chan, another cymbal

 

What the critics say about Trance’n’Dancin

“Sublime, haunting…The album is a beautifully shaped journey from the spacious taksims to fast and upbeat dance tunes… Sanders has spent years studying the music of Turkey and the Balkans and his passion and skill for this music are clearly evident in this superb album.” – Oonagh Sherrard for www.indie-cds.com

“There is a profound dignity about the expression of sadness in Turkish music. With neither histrionics nor sentimentality, the sadness is distilled into beauty. Kim Sanders has immersed himself in this culture for years and achieves an extraordinarily haunting sound on ney (Dervish flute) for the rubato improvisations on this haunting album. He is accompanied by Peter Kennard, whose realisatons of the slowest tempos in tricky time signatures is a marvel of meditative concentration and execution.” – John Shand, Sydney Morning Herald

“What stirs you throughout this album is the realisation that the breath is what brings you closer to God, that is the ‘ruh’ or the soul. Kim’s brand of music is based on the movement of breath and an inner connection to the mind and spirit. The album is a must for world music conoisseurs and anyone who enjoys the world of Islam.” – Kuranda Seyit, Australia Fair, Dec 05

“A major part of this album is a modern interpretation of Traditional Mevlevi (Whirling Dervish) and Balkan dance music. Yet it loses none of the meditative and languid qualities of the original trance music…The real beauty of the album is the way that the bulk of the tracks achieve the near impossible feat of exuding a sound that is elegiac but at the same time spirited. The hauntingly beautiful “Gidemem Siraza Ben” is almost heartrending in this technically masterful and emotionally uplifting intertwining of the plaintive with the exuberant… Multi- instrumentalist Kim Sanders achieves total command over all his instruments and together with Peter Kennard has produced a masterful album which is an ideal vehicle for a breakthrough to a wider audience.” – Dush Perera, Jazz’n’Blues www.corporatenews.com.au

“This is an energetic and distinctive blend of virtuoso playing from multi-instrumentalist Kim Sanders, masterfully accompanied by Peter Kennard’s magic trunk of percussion… Trance’nDancin features several different fascinating musical styles – Sufi meditations, Turkish lullabies, trance music, folk tunes- as well as an enigmatic track, “Solitary Circumambulation”, which Sanders claims is the world’s first composition for gaida (Balkan bagpipes) and Hammond organ. Sanders is a relentless champion of world music and this CD celebrates the freshness and sheer excitement of the Balkan and Turkish traditions with added new twists and a funky rhythm section to create a joyful session of music for listening or dancing” – Jas Hall, ABC Limelight Magazine

 

You Can’t Get There From Here

Kim Sanders and Friends’ ARIA-nominated CD You Can’t Get There From Here showcases traditional pieces from the Balkans and Middle-East and original pieces including “Hepimiz Deliyiz” (“We’re All Crazy”), first performed at the Ataturk Cultural Centre with the Istanbul State Modern Folk Music Ensemble, 2001. Demented Gypsy-style collective improvisation, Indo-Turkish grooves and more…

Kim Sanders: ney, kaval, mey, duduk, saluang, Bulgarian and Turkish gaidas, aardvark, tenor sax, gong;  Bobby Singh: tablas;  Sabahattin Akdagcik: baglama, oud, yayli tambur;  Steve Elphick: double bass; Peter Kennard: percussion and Epizo Bangoura: djembe, balafon.

What the critics say about You Can’t Get There From Here

This is a dream of an album, full of emotion and skill – Carina Prange, Jazz Dimensions (Germany)

I was immediately conquered by the beauty of the arrangements, the high degree of musicianship and the perfect selection of the tunes featured there – Massimo Ferro, Radio Voce Spazio (Italy)

A gem …Great sounds, textures, clever improvisation over tricky rhythms, an album for conoisseurs – Dieter Bajzek, Folk Alliance Australia

A beautifully-balanced mixture of traditional and contemporary sounds from Turkey, West Africa, India and the Balkans …A fantastic array of moods and charms – K S Seyit, Australian Muslim News

Plenty of beautiful, breath catching moments – Craig N. Pearce, Drum Media

You are sure to want to linger in this musical mystery land – Bernard Zuel, Sydney Morning Herald

Deliciously eclectic! – Doug Spencer, Producer, The Planet, ABC Radio National

Chronic Rhythmosis

Brassov’s World-Gypsy-Jazz CD – re issued 2014       

Brassov are acknowledged as one of Australia’s most original and accomplished contemporary world music – jazz bands.  Their irrestistible rhythms and vibrant melodies have their roots in the music of the Romany (Gypsy) Balkans, West Africa and Latin America.  This is music to listen to, laugh with, and dance to!

The members of Brassov – Robert Guzmani: trumpet; Christine Evans: soprano/alto Sax; Kim Sanders: tenor sax, Balkan & Middle Eastern wind instruments, eastern bagpipes; Boyd: baritone, bass saxes; Peter Kennard: percussion; James Pattugalan: drums.

What the critics say about Chronic Rhythmosis

This is richly-layered brass instrument playing ranging from the fast and furious…to the sublimely lyrical and emotionally sustaining…it’s a brass band that has absorbed its world music, bebop and big band influences and remains true to itself with a rich and distinctive voice.  Chronically good – Realtime, Jan 98

..(with) a gargantuan bass saxophone honking out the bottom end, Brassov take brass band music on a rhythmic bender through Africa and Latin America.  The result is berserk folk-jazz dance music – Richard Guilliatt, Sydney Morning Herald Metro, Jan 97

Marvellously engaging…one of the most original and enthralling of musical ensembles you are likely to encounter – Craig N. Pearce, Drum Media, Oct 97

…an insouciant and vibrant world hybrid, perhaps better thought of as world music jazz.  In it you can hear Balkan, Romany Gypsy, ska, Persian, West African and Latin strains, mixed in a riot of exotic polyrhythms and time signatures – Shane Nichols, Australian Financial Review, Jan 98

Armed with an arsenal of Balkan bagpipes and enough strange instruments to send an ethnomusicologist into paroxysms of delight, Brassov have produced an album of world jazz which is energetic, inventive and fascinating – The Jazz Messenger, Dec 97

People lift up their arms, wiggle their torsos and shout ‘whoopah’…It’s not often that you get to see a gangster, a showgirl, and a Balkan shopkeeper in the one band – not in Sydney anyway.  These guys are like the Macedonian Village People – they can definitely groove, in three, give seven and eleven. – Hugh Worrall, Drum Media, Oct 97

It is obvious that the members of Brassov have a thorough understanding of the sources at the heart of their project and the results were exhilarating: exuberant, raucous playing – Peter Jordan, Sydney Morning Herald, Nov 97

One of the most stimulating and vibrant groups currently operating in the local music scene – Blowing, Drum Media, Nov 97

 

GengGong’s CD – Not Just Music

GengGong uses traditional musics from many cultures (Javanese, Madurese, Bulgarian, Turkish, Arabic, Sumatran) in contemporary arrangements and original compositions.  Indonesion drums, gongs and reeds are combined with guitar, Balkan &Middle Eastern bagpipes, didgeridu, saxophone and wooden flutes to produce a unique and totally compelling performance.

Sawung Jabo: vocals, guitar, bonang and other gongs, dance); Kim Sanders: tenor sax, aardvark, Deravish flute, Bulgarian bagpipe, Middle-Eastern reeds, Sumatran saluang, percussion;  Ron Reeves: Sundanese kendang, Sumatran sarunai, didgeridu, genggong, buzz flute, vocals;  Reza Achman: drum kit, percussion, vocals.

GengGong: "Not Just Music"

 

What the Critics say:

GengGong rock hard – Revolver

The whole blend of traditional music they performed…created a rhythm of harmonic and peaceful sounds, as if we were being drawn into a spiritual experience together with them – Newsmusik

A powerful performing unit – Richard Jasiutowitz, Diaspora

Their commitment to excellence in performance, professional deportment and creative synthesis of traditional and modern elements…[makes] this band…the fore-runner of exciting new developments to come in the fusion of east and west in Australia – Dr David Goldsworthy, Senior Lecturer in Ethnomusicology, University of New England.

Wow, GengGong really went off!! – Seth Jordan, Director, Bellingen Global Carnival

GengGong have already made a significant contribution to contemporary Australian cross-cultural music, especially by promoting a sense of cultural exchange and understanding between Australia and Asia. – Lex Marinos, (former) Head of Carnivale.

 

 

Buying Kim’s CDs

All CDs are available directly from kimzgaida@hotmail.com.  Bent Grooves, Trance’n’Dancin and You Can’t Get There From Here are available from:Indie-CD’s www.indie-cds.com, Trad & Now www.duckscrossing.org/tradshop, Birdland (Sydney city) www.birdland.com.au, Lamdha Books (Wentworth Falls, NSW) www.lamdhabooks.com.au, Mara! Music www.maramusic.com, “Saba Nefes II” is included in the compilation “Groove Medicine – Groove Music” from Music Mosaic.  Individual tracks or full album downloadable online – http://www.music-mosaic.com/ecom/groove-music-medicine.php

You Can’t Get There From Here , Trance’n’Dancin,  Bent Grooves and Chronic Rhythmosis are now available online from iHear Music. You can download single tracks or whole albums.  iHear Music supports Australian musicians – support them if you can!

From the Archives: 

There are still a few copies available of pioneering Australian World Music group Nakisa’s Camels in the City CD and Nakisa’s first album Insallah (LP/cassette  format only)

Kim has also recorded with:

Phanari tis Anatolis,  Oppie Andaresta, Oguz Yilmaz,  Setiawan Djody, Silvia Entcheva Trio, Flamenco Dreaming, Indiajiva, Tansey’s Fancy, Seaweed and Wire, Chichitote, Caiseal Mor, Rick-e-Dee, Bob Wheatley, Sabahattin Akdagcik’s SASOM, David Hobson, Blair Greenberg, Roger Mason, Rabadaki, Tony Lewis/Aboriginal and Islander Dance Theatre, Turkish Art Music Ensemble, Global Roots, ABC Childrens’ series “0-9”  and others…

Review: Trance’n’Dancin, Jaslyn Hall, Limelight Magazine, 2008

This is an energetic and distinctive blend of virtuoso playing from multi-instrumentalist Kim Sanders, masterfully accompanied by Peter Kennard’s magic trunk of percussion… Trance’nDancin features several different fascinating musical styles – Sufi meditations, Turkish lullabies, trance music, folk tunes – as well as an enigmatic track, “Solitary Circumambulation”, which Sanders claims is the world’s first composition for gaida (Balkan bagpipes) and Hammond organ. Sanders is a relentless champion of world music and this CD celebrates the freshness and sheer excitement of the Balkan and Turkish traditions with added new twists and a funky rhythm section to create a joyful session of music for listening or dancing.

Rating: 4 stars (out of 5)

– Jaslyn  Hall, ABC Limelight Magazine

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 (www.globalrhythm.net)

Review: Trance’n’Dancin, Oonagh Sherrard, Indie Cds, 2006

The album opens with Saba Taksim. The taksim being the opening section of a piece of music usually improvised, which introduces the mood of the piece and its tonality – in this case the scale or Makam is Saba, which Sanders describes as ‘strange and beautiful’ – an apt description. It’s a sublime, haunting and spacious start to the album – transcendental. Sanders is playing ney (Turkish flute) with a simple drone, which also sounds like a ney loop. From here we move into the main body of the piece, the composition Saba Saz Semaisa also on ney, this is dervish music from Turkey by Celebi Murad, arranged by Sanders and Kennard. Kennard joins the frey,
perhaps on daf, the Sufi’s traditional frame drum of choice. Track 3 Kimizi Gul is a steady paced introduction to the more dancey numbers, a more sensual and earthy sound. Sanders is playing a reed instrument, perhaps
aardvark, a kind of bagpipes, or mey (double reed instrument). The track remains focused on its steady pace, with wandering traditional melody arranged by Sanders and Kennard. The pace picks up again with track 4 Tamzara. Kennard gives us a very funky rhythm supporting Sanders beautiful light and playful melody on flute, sitting on a harmonium drone. The cover notes don’t give away what instruments are featured in each track, but they do share the time signatures – this one is in 9/4.

Track 5 Solitary Circumambulation is the original composition for Hammond and Gaida – Bulgarian Bagpipe, with Kennard on surdo. The gaida holds the tune throughout, with some flute doubling. I would have liked to hear the Hammond break into a solo, from its bass/rhythm ostinato. We are treated to three more taksims on the album, the next track being Kaval Taksim then Beyati Taksim both on ney and then Soporific Taksim. They are all haunting and beautiful, particularly the last. The album is a beautifully shaped journey from the spacious taksims to fast and upbeat dance tunes, such as the Arabic Ah Ya Zane or Turkish Gidemem Siraza Ben steadier grooves like Yuksek, Yuksek Teperlere, and the occasional jazz influence underlying very traditional sounding melodies in tracks like Impossible Dreams of Sonia. Closing with a magical traditional Turkish lullaby Bebek.  Sanders has spent years studying the music of Turkey and the Balkans and his passion and skill for this music are clearly evident in this superb album. If you’re interested in the music of Eastern Europe or the Middle East, you should get this album.

–  Oonagh Sherrard, 2006,  for indie-cds.com website (www.indie-cds.com)

Review: Trance’n’Dancin, Dush Perera, Jazz’n’Blues, January 2006

Given the jazz provenance of Kim Sanders, prior expectations that this is a jazz album may be justified. A few minutes listening to this CD however, will quickly put such suppositions to rest. From the very first track, the dominant flavour is clearly not just Middle Eastern but very particular strands within the complex heritage of Middle Eastern music and Balkan music.
A major part of this album is a modern interpretation of Traditional Mevlevi (Whirling Dervish) and Balkan dance music. Yet it loses none of the meditative and languid qualities of the original trance music, especially in the initial tracks, “Saba Saz Semaisi” and “Kimizi Gul”, but most apparent in Kim Sanders’ own composition “Saba Taksim”.
These pieces give way to the effervescence of “Solitary Circumambulation”, an acquired taste perhaps, being according to the liner notes, the world’s first composition for gaida, Hammond organ, and surdo, as well as the more buoyant “Kaval Taksim.” Yet, the real beauty of the album is the way that the bulk of the tracks achieve the near impossible feat of exuding a sound that is elegiac but at the same time spirited. The hauntingly beautiful “Gidemem Siraza ben” is almost heartrending in this technically masterful and emotionally uplifting intertwining of the plaintive with the exuberant. If there is a killer track in this album, this has to be it.
It is little wonder that the album announces itself as trance music-the listener is transported by this otherworldly music to a mysterious and rarefied atmosphere. Kim Sanders’ superb flute playing, with the Turkish ney and the Bulgarian wooden kaval goes a long way in creating the overarching mesmerising quality of this album.
Multi-instrumentalist Kim Sanders achieves total command over all his instruments and together with Peter Kennard has produced a masterful album which is an ideal vehicle for a breakthrough to a wider audience.

– Dush Perera, Jazz’n’Blues (Trance’n’Dancin was Jazz’n’BluesAlbum of the Month Jan 06)

Rating 4 stars (out of 5)

Review: Trance’n’Dancin, John Shand, Sydney Morning Herald, December 2005

There is a profound dignity about the expression of sadness in Turkish Music.With neither histrionics nor sentimentality, the sadness is distilled into beauty.

Kim Sanders has immersed himself in this culture for years and achieves an extraordinary sound on ney (Dervish flute) for the rubato improvisations on this gloriuos album. He is accompanied by percussionist Peter Kennard, whose realisations of the slowest tempos in tricky time signatures is a marvel of meditative concentration and execution.

The carefully devised programming slowly transports the listener into a progressively denser sound world, beginning with solo ney, then ney and percussion, then the fatter sound of another Turkish wind instrument, the double-reed mey, with hand-drums and bells.  By the tme they release the mounting tension with a 9/4 dance called Tamzara, you are ready to rise and join the party. A particular joy is the soulful Solitary Circumambulation for the unlikely combination of gaida (bagpipes) organ and percussion.

– John Shand, Sydney Morning Herald,Dec 5, 2005

Review: Trance’n’Dancin, Kuranda Seyit, Australia Fair, December 2005

Kim’s first album ‘You Cant Get There From Here’ was nominated for an ARIA in 2002 for Best World Music CD. Kim’s second album offers as much as the first with a nuance that is both soothing and sensual. The album features the sounds of the ney (Turkish flute), kaval, Bulgarian and Turkish gaidas (bagpipes) and his own inovation, the Aardvark.
Kim takes you on a journey. The Traditional sounds of the Sufi flute will touch the deeper moods of the soul.Don’t be afraid to engage with the rhythms and let down your defences so it can penetrate you deeper and lead you to new discoveries and travels.
Track 3 is my favourite, ‘Kirmizi Gul’. It is sorrowful yet uplifting and sets a mood of optimism.  It is a good track to write to or when the kids have gone out for the afternoon with dad and you’ve got some “me” time.
Tracks 4 and 7 are more upbeat and merry. But essentially, what stirs you throughout this album is the realisation that the breath is what brings you closer to God, that is the ‘ruh’ or the soul. Kim’s brand of music is based on the movement of breath and an inner connection to the mind and spirit.
The album is a must for world music conoisseurs and anyone who enjoys the world of Islam.

– Kuranda Seyit, Australia Fair, Dec 05