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Wei Chi September 2004 Over the course of the past three to four years especially, it’s been interesting listening to a lot of the electronic musicians in Germany working to blend jazz, soul and computerized noise into a new musical hybrid defying definition. It’s an evolution that in many ways can be likened to a baby in the womb kicking, stretching, growing. One gets the feeling that every now and again, one of those kicks is evidence of yet another phenomenal growth spurt. One I, Two Eyes, the creation of bassist Raoul Walton is one of those major kicks inside the belly. Walton’s best known for his work in the Manhattan free jazz scene throughout the mid-1980s. But in his current manifestation he’s a New Yorker living in Munich and working under the pseudonym Wei Chi. While the compositions on One I, Two Eyes have what Walton calls “soulful computer jazz” at base, it’s clear that electronic experimentation is far from a crutch here — this is a marriage of the first order. You’ll hear much of Walton’s penchant for musical freedom through his meandering compositions that somehow maintain a common thread line lending a sense of accessibility. That thread line, more often than not, is made up of the beautiful vocal delivery and arrangement throughout. Then, you’ll hear an undeniable influence of ‘80s dance music through the light addition of retro synthesizers. In the end, what emerges on the 14 songs comprising One I, Two Eyes is, simply, one of the most gratifying musical experiences of this year — especially for those who love music that’s difficult to classify under any one genre. This is a collection of songs so thoughtfully written and intricately interwoven, you’ll not want to eject it from your disc player for many moons. Jazz, soul, broken beat, classical — it’s all here and done quite well. - Daniel Gray-Kontar |
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[Raoul Walton] [Bio] [Discography] [Interview] [Pix] [Review] [I Ging] [Kontakt] [Impressum] |