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review by Bill Binkelman You don't see many child prodigies in new age music, that's for damn sure. Evren Ozan is one, though. At only ten, he's already been playing the Native American cedar flute for several years (since he was six) and has accomplished more in four years than a lot of musicians do in their entire adult lives. If I hadn't listened to this album, I would've thought this was all hype. But it isn't; I literally stopped what I was doing (raking leaves this past fall) when I first played the CD. I had to check to make sure this was indeed the album I had put in the CD player. The kid looked so young! Yep, it's him and man, can the boy play. He demonstrates a lot of talent on the CD's twelve tracks (all of which he composed!). Ozan also receives solid assistance on nearly every song from a crew of accompanists on assorted stringed instruments, lots of percussion, some didgeridoo, and also sparsely-used electronics. More often than not, this recording kicks up its collective feet and dances up a storm. My favorite track is a good example of this: "Walking With Belle" is a foot-tapping blend of swirling didgeridoo, hand drums, bouzouki, and Ozan's flute which flits around like a hummingbird, darting here and there. It's one of those "Damn, it's great to be alive" songs an it put an grin on my face the first time I heard it. Despite the fact that Native American flute is the lead instrument, the wide array of ethnic instruments and percussion lends a strong world fusion feel to some tracks. "Amble East" laces the lead melody with tabla and other percussion from that part of the world, hence the 'East' of the song's title. Other cuts have a contemporary Native fusion sound to them, such as "A Candle in Every Window," a slower somber duet between acoustic guitar and flute anchored by trap kit drum rhythms. "Great Blue Sky" fires up the didge again, pitting it against rapid-fire tabla and other hand percussion, bouzouki and fiery flute playing by Ozan. The didge growls and barks like a crazed Australian outback dingo while the other instruments beat out a pulsing melody and rhythm. The use of Nigerian xylophone on "Roots and Vines" (along with some wicked-good jaw harp) melds African textures with outback twanging, tied together with Ozan's airy lead lines. Things also get quiet at times, such as on the somber "Vigil" with slow tempo tabla and evocative quasi-ambient synthesizer undercurrents, as well as on "Twilight," which combines a tamboura drone with languid sensual flute work, along with more synthesizer work (referred to in the album liner notes as "ambiosmic soundscapes" performed by Mac Ritchey, who also handles the stringed instruments and some percussion). Hell, there's even a slice of midtempo world fusion electronica on "Mad Science 101," featuring a variety of electronic effects and infectious beats (both organic and electronic) as well as snaky flute melodies over barking didgeridoo and tabla. Besides Ritchey, the album also features Gabe Halberg on assorted percussion, Graham Wiggins on didgeridoo and Guillermo Martinez (performing on a second Native flute on "Twilight"). Everyone plays off each other well, but it's never in doubt who the star of the show is. And, I guess, seeing how remarkable Evren is, who can fault that decision? The young man has already garnered a good amount of acclaim for his artistry. You can add my name to the list of those who sing his praises. It's kinda scary, though…I mean, what if this ten year-old wunderkind actually gets even better? |
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