The Musical Contributions of Pat Moraz to Yes

[Q]

Continuing our esoteric and highly selective series, we move on to Pat Moraz - who, like Geoff Downes, leaves us precious little documentation of his presence.

Because of his limited tenure in Yes (2.5 years) Patrick leaves behind only one studio album and a trickle of live work on Yesshows (which I do not own and have only read about). I would suggest that those who attended Pat's live performances might be able to add considerably to a discussion of his musical contributions to the band, based on their on-the-spot observations, and call upon any interested parties to do so.

Patrick's recorded efforts are found on "Relayer," in three distinctive and innovative tracks: "Gates of Delirium," "Soundchaser" and "To Be Over."

Here are some general observations to begin:

1) Among the five Yes keyboardists, Moraz is second only to Wakeman in ferocity and dynamic prowess. The depth of his classical training is always apparent; his understanding and effective use of counterpoint exceeds that of his melodic foil, Howe (as does Wakeman's - Moraz and Wakeman are distinctive in Yes history in this regard, matched by Squire but by no Yes guitarist).

2) The subtlety of Moraz's harmonic choices is second to none. No Yes musician matches Moraz in the sheer appropriateness of his instrumental decisions - and in the context of Yes's most eclectic and dissonant pieces! The best metaphor for Pat's keyboard work on "G.O.D." and "Soundchaser" is that he is like the very best movie special effects artist: the finest special effects are the ones you don't even see. This applies to Pat's underscoring of virtually every melodic foray Howe makes - you don't think of hearing a keyboard part, you just hear perfect sound. Not even Wakeman achieves this as effectively.

3) Pat's symphonic sense is in the highest Yes tradition. "To Be Over" features keyboard lines that walk with the bass yet melodically bolster Jon's high-reaching lamentation. The rise and fall is deftly managed as he meets the challenge of perfectly complimenting Howe's marvelous lines and simultaneously framing Jon's vocal.

4) Lead work - every melodic line that Pat himself plays has two prominent features: a tonal distinctness that is, given the equipment he was using, astounding, equal in variety and texture to Howe's own tonal choices; and his absolute comfort in atypical rhythm and meter in unwavering. In the finest classical tradition, Moraz tackles odd time signatures without a blink, and (like Wakeman) his melodic lines always nestle perfectly in with Squire/White. The sounds themselves are just GREAT - what a wonder he must have been in concert! (I heard him twice with MB but never with Yes)

Other observations?

[therifferoo]

Excellent points about PM...I especially agree with what you said in points 2) and 4).

You chose a couple of adjectives in describing Soundchaser and Gates (I assume those are the tunes you meant) that I think are the very core of the reason why people either love Pat or do not understand what he is doing and therefore dismiss him: eclectic and dissonant. Yet, in many instances, particularly in his solo works, he is capable of such delicate beauty as well. Pat is someone whose work I have always highly admired....I enjoy someone who plays a bit more outside of the box...pushing boundaries aside...not so quick to take the obvious resolve, I guess I might say. Pat is a master of this....very seldom will he resort to cliche. Yet he is capable of using more accessible measures as well when need be. Truly an innovator, not only of music composition, but the SOUND of the music as well.
"Soundscaping."

He was second only, perhaps, to Brian Eno in the art of experimentation with synthesizers as instruments unto themselves as opposed to a means of imitating other instruments...and though I highly admire Eno as well, Pat's virtuosity makes his experiments much more interesting for me. (Put Moraz on an acoustic piano, and he can outplay just about anyone.) The sonic textures he laid down during his brief tenure with Yes are second to none...as Q said, much like a special effects artist. And considering what he had to work with at the time, all the more amazing....though the old analogs were MUCH more instantaneously versatile than the pre-programmed, multi-function buttoned digitals of today; lest we forget that there was no such thing as sequencing, multi-timbral keyboards, or MIDI back then...it all had to be done "here and now"...(I remember the days of working with old analog synths, and just praying that they would work properly, let alone that you would be able to deal with them on the fly while still playing all your parts!! Just keeping them in tune was a task unto itself!! Each performance therefore had its own individual nuances...depending on how one's synths "behaved" each time, as well as exactly how one was able to set them up for each part as quickly as humanly possible...Of course, we all had our guidelines, but no two "dial-ups" were ever exactly the same...no buttons to push for "cookie-cutter" pre-set programs!!)

Something I always enjoyed about Moraz intensely was his monophonic solos...the texture and tones he chose were, for me, second to none, as well as his expressiveness...his wailing pitch-bends and flurries of "outside" scales got me every time. In recently re-listening to much of his work, I had to smile in the realization of how much this particular aspect of Pat's playing influenced my own.

I cannot even begin to articulate how I feel about Moraz...as some of you may already know, seeing him play with Yes in 1976 literally changed my life, and sent me on the musical journey I still travel in the path of a synthesist/pianist. So, I have a much too subjective viewpoint of Pat to truly offer any unbiased observations here! Besides, Q covered that end of it pretty well, I must say!

The only place I disagree with you, Quantum, is where you said Moraz is "second only to Wakeman in ferocity and dynamic prowess." IMHO, the two of them are running neck and neck. If you doubt this, please listen to Relayer again, and also check out some of Moraz' solo stuff. Maybe you will recant on that point!

I can heartily recommend the following:

Patrick's latest release, all "live" acoustic piano:
~Resonance.
A masterpiece of technical ability and visually evocative composition/execution.

~The Story Of i

~Future Memories, and especially Future Memories II

~Music For Piano And Drums (with Bill Bruford)

~FLAGS (again with Bruford)

~Timecode

~Human Interface

Also check out his early work with Mainhorse and Refugee.


In closing, I'd like to quote something I saw somewhere in reference to Patrick Moraz playing with Yes. Not sure who said it, but I think it's pretty amusing.

"If Beethoven had gigged with Yes, this is what it would have sounded like!"

I get a kick out of that!


Also, with all due respect to Rick Wakeman, whom I love dearly, and appreciate deeply all the beautiful and spectacular things he has done....I must add my own biased opinion:

MORAZ IS KING!!!!! :clap: :clap: :clap: :clap: :clap: :clap:

Thanks for the wonderful analysis, Q....
About time someone on this forum recognized Patrick Moraz for the wonderous virtuosity he exhibited!!


Peace, love, and all things YES......AND Moraz!!!!!!!!!

~Riffer! :keyboard:

[therifferoo]

Here is one aspect of Patrick Moraz I enjoy:

[therifferoo]

....and yet another.

[Trevor Walker]

I've been thinking about buying this album for some time........

Your combined reviews of this talented musician have convinced me to take the plunge. I'm off to log onto Amazon in a few minutes........

Thanx fellow fans !!

[therifferoo]

Story Of i is different than anything you've ever heard before...I can guarantee you that!! I hope you will enjoy it...
Give it time to sink in....there is so much going on throughout the course of the album, it needs many many listens to grasp. I've been listening to it for 25 years now, and still find more things I like about it to this day!

Let us know how you like Story Of i once you've had a chance to give it several listens...I envy the discovery you are about to make....it's an adventure!!

I would also STRONGLY urge you to go to Patrick Moraz's official website and order his new CD, RESONANCE. It is absolutely extraordinary. The site gives you a few samples to listen to...in particular check out Birds On A Wire...



Peace!
~Rifferoo.

[Trevor Walker]

I'll let you know what I think in a few weeks time - it'll probably take that long to arrive !

[ANTIOCH]

At that time in YES history , their concerts were stellar , and the addition of Patrick Moraz brought a high level of energy to the music (and 'live' shows) that had not been , nor has ever been recaptured. I too love Rick Wakeman ; and for YES , his style may be better suited , but Patrick Moraz left an imprint on the music he contributed to like no other. . . a consummate pro !

[Trevor Walker]

Just thought I'd let all you fellow Yes/Patrick Moraz fans know that I have just ordered "The Story of I" from Amazon.co.uk for £6.99 ! (That's about $10.50).

Also plenty of older Yes albums @ £7.99 and £8.99. So if you want to replace vinyl or catch up on missed albums - check it out.

[The Villager]

I understand that Patrick has done a new album that is all piano. I wonder if anyone has heard it? Perhaps a review could be posted here or on some other Pat Moraz thread? I think several of us would like to read such a review, and perhaps others would be inspired to get the album?

[Squireaholic]

One of my favorite concerts has got to be @ Roosevelt Stadium in NJ, June 1975.
This was the Relayer tour: The Glorious and Triumphant Return of Yes. The show followed pretty much what you get when you see the '75 video with the horrible sound, with two important differences. One, the sound was beyond anything I've heard before or since at a Yes concert (Union Tour included). Second was the stellar perfromance of Moraz. For some reason, the stage setup in NJ was slightly more 'open' than others of this tour 've seen or heard about; such that Pat and Jon were able to literally chase each other around on stage! Lots of Fun! This concert was broadcast live on WNEW-FM. If anybody has a copy, I'd gladly give or trade something for it. A great concert, and a fond memory.

[therifferoo]

Does anybody know if Patrick has any plans to tour again?? Especially in the States?? I'd practically pay an arm and a leg to see him perform again!!

Man, it'd be great if he could manage a solo tour of Resonance...

Dreamin' big...

~Riff.

[Jeremy Bender]

I think it's really a pity that Moraz never integrated in to Yes in the songwriting department. He could have really brought some different textures and colors to the sound.

I saw him with Yes in 1975 at the Hollywood Bowl. Disappointment at Wakeman leaving was still high but I think he convinced everyone that night that he could more than hold his own. His solo on Sound Chaser blew people away.

On the Yes at Queens Park Rangers football ground video, it's great to see him darting around his keyboard setup. One things that always bugs me is when people say "See! Those prog keyboard players always had a ton of equipment just for show!". As Rifferoo pointed out, the setups were huge because it took that much equipment just to get the sounds they did. But it's weird--seeing Igor in 1997 with his much smaller setup, all MIDI-ed out and all, I miss those big setups! I don't care how good a sample is, you can't exactly reproduce the sound of a Mellotron or a MiniMoog. Of course, the roadies are probably happy that they don't have to lug a Hammond C-3 around.

Story of i is a terrific record. The Refugee album is also very good as well.

[PO]

Patrick never overplayed, either. I thought his part on the QPR Tales song was just as it should be.

On Fish out of Water, I felt he played what the music needed. Only great musicians know to do this. Ever see a brilliant piano player do Moonlight Sonata? No light-speed licks, but it can bring you to tears.

Only once did I see error in judgement. He played the opening synth melody in And You and I in a fairly altered state. He should have known better to leave an identifiable melody as is.

Patrick painted such great landscapes at the 75-76 shows. Pat "The Palette" Moraz.

I did think at the time he was a bit pitch-bend happy. But, synths were still relativley new, and he was exploring.

[continuum]

If you have not heard it yet, Patrick has a new accoustic album called ESP (Etudes, Sonatas, Preludes). It is excellent! It is not easy to find; however, PlanetCD (http://www.planetcd.com/shop/pm_bio.html) is selling ESP, as well as Patrick's earlier CD, Resonance.

[Earl Grey]

...Only once did I see error in judgement. He played the opening synth melody in And You and I in a fairly altered state. He should have known better to leave an identifiable melody as is.


God but you hit that one on the button Paul. You are so correct, it was nothing short of jarring, the bit Moraz played.

AYAI should be painted with pastel hues. It's such an amazing bit of romanticism, but there's nothing angular about it, and you could cut yourself on the notes Moraz played in there!
~~~~~~~~

On the other hand, the bits he came-up with for Relayer were perfect.

I've always had the feeling that Moraz put everything he had into the songs he recorded with the band, and the other songs just weren't as important to him.
It's just a feeling...

But what Moraz added to Relayer was unique, and I couldn't imagine that album without him. It wouldn't have been the same album without him, and it's one of my favorites.

He's my second favorite YES keyboardist.

EG:yesbird:

[Q]

Guys, do you remember which show(s) this occurred in? Did he do it all the time, or only in certain shows?

[Soul Dreamer]

I saw Patrick Moraz with Bill Bruford at the Roxy in L.A. years ago and he was fabulous, as was Bruford. Saw Yes with Moraz at Anaheim Stadium with Gary Wright's Wonderwheel, Gentle Giant and Peter Frampton. It was too stadium for my tastes, but the show was awesome !

[Full Tilt Boogie]

Trev,

Great minds dude! I bought 'Story of I' last week off Amazon and it sounds - after one listening - most acceptable. No doubt a few more listenings will have me loving it.

The live weeds of Yes I've received off All Good People off this site have him playing like a demon and he covers the Wakeman tracks admirably! His own tracks, it goes without saying, go with a rare flare!

Often makes you wonder what could have been (album and touring-wise) if they'd have asked him back after Drama and not fannied-around with the whole Kaye/Rabin cluster-****?

I guess we'll never know.

[ranyart]

I think Pat Sajak's musical contributions to Yes are absolutety great! I wish he would come back and do Relayer (part du).
just a thought?

[Earl Grey]

Guys, do you remember which show(s) this occurred in? Did he do it all the time, or only in certain shows?

Hey Q!

Well, of course the one that comes to mind first is the QPR show... Granted, the mix was gawd-awful, but the notes were very angular...

I don't have all my 'weeds' available right now (I'm in Sacramento right now!), but have listened to a few Relayer shows, and Moraz never really got the parts right for AYAI... He sort-of 'jazzed' it up, which works on some things, but never on AYAI... In a couple days I'll be home, and will give specifics...

Don't think I;m totally dissing Moraz though... I love what he did with YES, there are just certain songs that Wakey 'fits' on better.

One really cool solo that Moraz did on an older song was Starship Trooper (Which he only had the chance to play with the band a couple of times). He did a blazing solo that definitely fit the bill...

No, I love Moraz. Just not the solos he played on AYAI!

:ele:

[brotherofmine]

I saw Patrick live in 1975 on the "Relayer tour" and he was amazing very different to Rick, fervent, dashing around the keyboards in a hurry, in comparison to Rick's calm.
I had the "Story of I" which is an amzing album demonstrating all of Ptrick's qualities although not so keen on the vocals on the album. "I" has a very Brazilian feel to it, and conceptually has a very deep meaning.

[Q]

Pat's album "Resonance" from two years ago, a piano-only work, is amazing ...

Out of curiosity, I'm going to go back to my Drama shows and see what Downes did to "And You and I" ...

[tardistraveler]

Now you've all got me curious as well! Think I'll scrutinize some Moraz boots tonight.

I saw Moraz perform live with Yes 9 times. He was a joy to watch in concert - almost the antithesis of Wakeman - he throws his body into his performance.

I don't remember AYAI specifically, but I do remember the first couple of times I heard him do CTTE, and I winced at some of Wakeman's signature parts. I think there are places where it's OK to take artistic license, and then other parts where they should be played pretty close to the original.

Moraz is an amazing keyboardist, but to compare him to Wakeman is like comparing apples to oranges - they are both wonderful, but different.

[pianozach]

The Refugee album is also very good as well.

Excellent album. If you can ignore the awful vocals . . . . :crybby:

[pianozach]

I think Pat Sajak's musical contributions to Yes are absolutety great! I wish he would come back and do Relayer (part du).
just a thought?
As well as drummer Vanna White's contributions . . .
:sofunny:

[Steveqvs]

I had liked the direction Patrick Moraz was taking the band with Relayer. I felt at the time it was the most "fusion jazzy" sounds that Yes ever produced. In concert in St Louis Patick Moraz's playing was awesome. But only once did they come with that line up.

But I remember way back when before Moraz joined Yes it was reported that most if not all of Relayer was done and Moraz just filled in. So boy would I like to know if any tapes exist of Wakeman playing Relayer songs onginally? That would certaintainly be different! Also I wonder in the 2 1/2 years if there exist other tapes stored away in valts of Moraz and Yes!

Steve

[Timmo]

Moraz's work on "Fish Out of Water" is nothing short of stunning, particularly the very complex keyboard layering on "Silently Falling."

God, I wish he'd stayed around for another Yes studio album.

[bondegezou]

Moraz's work on "Fish Out of Water" is nothing short of stunning, particularly the very complex keyboard layering on "Silently Falling."

There are actually three keyboard players on Fish: Moraz on organ and bass synth, Barry Rose on pipe organ and the late Andrew Jackman on piano and electric piano. So, it's hard to say whether the complex keyboard layering is Moraz' design, or all three's or Squire's direction.

Henry

[squireman]

Moraz equals Wakeman in the Yes keyboard league table for me. Wonderful musician!

[bondegezou]

Moraz equals Wakeman in the Yes keyboard league table for me.

What? Fourth equal? Seems a bit unfair on Moraz.

Henry

[squireman]

Henry, do you really only rate Wakeman as the 4th best keyboard player for Yes?
Who are your top 3?

[bondegezou]

Henry, do you really only rate Wakeman as the 4th best keyboard player for Yes?
Who are your top 3?

Geoff Downes, the first member of Yes to have a music degree; Igor Khoroshev; and Tony Kaye.

While I'm less keen on Downes' current work in Asia, his playing on Drama was gorgeous and he acquitted himself well on the tour. Khoroshev's live work was stupendous and he's good on The Ladder. Kaye has a very different style, but (at least until the early '70s) a fantastic grasp of phrasing and timing.

Henry

[Dr Yes]

"Geoff Downes is the best keyboardist Yes has ever had . . . he listens!"

Chris Squire, I believe.

He'd agree with you Henry.

[rememberer]

But I remember way back when before Moraz joined Yes it was reported that most if not all of Relayer was done and Moraz just filled in. So boy would I like to know if any tapes exist of Wakeman playing Relayer songs onginally? That would certaintainly be different! Also I wonder in the 2 1/2 years if there exist other tapes stored away in valts of Moraz and Yes!

For that matter, I wonder if any tapes still exist of Moraz working on GFTO. That would certainly be interesting, too...

[bondegezou]

But I remember way back when before Moraz joined Yes it was reported that most if not all of Relayer was done and Moraz just filled in. So boy would I like to know if any tapes exist of Wakeman playing Relayer songs onginally? That would certaintainly be different! Also I wonder in the 2 1/2 years if there exist other tapes stored away in valts of Moraz and Yes!For that matter, I wonder if any tapes still exist of Moraz working on GFTO. That would certainly be interesting, too...

Parts of Relayer were certainly written by Anderson and Howe while Wakeman was still in the band, but it appears that not much of the album had been brought by them to the other band members before Wakeman's decision to leave. (Howe's pre-band demo of "To be Over" is on Homebrew 2 IIRC.) Most of the band development of the album appears to have taken place within a quartet of Anderson/Howe/Squire/White between the Tales tour ending and Moraz being recruited: i.e., before Moraz joined, but after Wakeman had left.

As for Going for the One, Moraz was around during the development of the album. For example, the band played "High the Vibration", an early prototype of "Awaken", live. However, it appears that he was out of the band fairly early on during the actual Swiss sessions that produced the album, so it is possible that no tapes with him in that period ever existed.

One does wonder about "Parallels", a left-over from Fish Out of Water. Does that mean there were any recordings with the Fish band, including Moraz, of the piece?

Henry

[DrMoog]

Detailed interview with Moraz can be found on his own site. First time I've heard the great man speak!