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When I went for the first time to Australia in October 2001, I don’t think I really knew  quite what to expect. I suppose I expected it to be somewhat like America with which it shares an almost parallel history. Fortunately for me however, this impression was completely mistaken I found Australia to be a country quite unlike any other that I had previously visited. For a start, it has a completely unique natural environment which has yet to give in to the audacious encroachment of mankind. It has a variety of climates which is perhaps not found anywhere else on the planet, as well as a literal mosaic of people of different nationalities and races who, on the one hand, seem to maintain their individual characteristics and, on the other, manage to co-exist in a reasonably harmonious whole. I’m only sorry that I had few encounters with the native Aborigine people, whose civilization has long inspired in me the greatest admiration. Hopefully, on some future trip, I’ll be able to fulfil my desire to better acquaint myself with them. I went to Australia with my colleague and friend Kelly Thoma (who plays lyra on this CD) and we joined up with three Australian musicians with whom we were to tour for one month. We covered, during this time, enormous distances in a small minibus, something equivalent to the distance between Athens and Moscow, and still we only saw a small corner of this enormous land.  Kin Kin is the name of the very small, yet extremely beautiful village in Queensland where we stayed for the first week of rehearsals at the home of one of the musicians, Linsey Pollak. Our days spent there were really quite a magical experience and, resultingly, we all agreed that the obvious name for this CD should be that of this very special little village. Our three Australian colleagues gave completely new dimensions to the repertoire which we played, and that constitutes the primary reason for which I decided to release these recordings.  We owe them an enormous debt of gratitude for what was one of the most enjoyable collaborations in our career.

On this trip to Australia I was accompanied by Kelly Thoma who plays Cretan Lyra. Angelina Tkatcheva also plays santouri with us on certain tracks. 

ROSS DALY

1.  «Samai-al-Thaqil» An anonymous composition, most likely of Iraqi origin, which is well-known throughout the Arab world. It follows the classical Ottoman and Arabic Samai form.

2. «Tekez - Miroloi (Lament) - Mαντιλάτος» The first piece, Tekez, is a traditional Turkish piece. It is followed by two compositions by Ross Daly, a lament (miroloi) in free rhythm, and another in the Thracian dance rhythm known as Mantilatos.

3. «Nihavent Zeybekiko» A composition by Ross Daly in the Makam Nihavent and in the Zeybikiko dance rhythm  

4. «Band-e-Amir» & «Moments of Optimism» This piece was composed in Australia in the minibus in which we traveled countless miles from one place to another. It begins with an introduction in free time on the Afghan Rabab in a variation of the Indian Raga Bhairavi.

5.  «Three Bektasi Nefes» Amongst the most beautiful pieces found in the Turkish musical tradition are the Nefes (hymns) of the Bektaci order of dervishes. This order was founded in the 13th cent., inspired by the Anatolian mystic Haci Bektac Veli, and continues up until the present time. Contrary to the more well-known order of Mevlevi Dervishes, who were usually concentrated in the urban centers, where they made an enormous contribution to Ottoman classical music, the Bektacis were usually rural people whose music tended to conform to the forms of the folk music of the provinces. Almost all of the Aciks of Turkey (wandering bards who sung and played the folk-lute saz) belonged to this order, and, even today, they p:lay a very important role in the lives of the inhabitants of Rural Turkey. Bektaci Nefes are usually very simple and clear melodies of striking beauty and, perhaps for that reason, in Turkey, even ordinary people, who are not members of the Bektaci order, are especially fond of them and know how to sing them.

6. «Stankina» & «Osogovka» The first piece is a composition by Ross Daly in the common Balkan rhythm of 11/8 .The second piece is from the former Yugoslavian republic of Macedonia and is called Osogovka.  

7. «Sandansko Oro» & «Majsko Oro» Two traditional Balkan pieces, the first is Bulgarian. The second piece is from the former Yugoslavian republic of Macedonia

8. «Hatif» In Arabic, the word hatif refers to the spirits of dead poets who inhabit the desert and entice travellers with their song, causing them to lose their way. This piece was composed by Ross Daly and the haunting wind instrument heard in the beginning of the piece is none other than a small plastic watering pot converted into a musical instrument and played by Linsey Pollak  

 Produced by SEISTRON

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Ross Daly

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