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PATRICK MORAZ

Crossover Prog • Switzerland


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Patrick Moraz biography
After playing a role in the success of Yes' Relayer album in 1974, keyboardist Patrick Moraz launched a solo career and became one of the more celebrated keyboardists of his age. During the '70s, when Moraz reached his prime as an artist, the keyboard was still a new and complex instrument. Technology was still evolving in the age before the personal computer. For this reason, Moraz's trailblazing keyboard work startled his audience. He practiced a new and exciting sound that was ahead of its time, owing a bit to the era's prog rock sound. However, that prog rock sound soon lost its novelty as the '70s became the '80s, and Moraz had to adjust to the times on his '80s solo albums. At the same time he found security in the Moody Blues, a legendary band whose ranks he joined for a few albums.
Born in Morgues, Switzerland, Moraz spent his youth studying music at fine European schools as well as classical studies in Latin and ancient Greek later on. His studies cumlimanted with his time spent as a student of Nadia Boulanger, a highly regarded teacher. His first taste of major artistic recognition came when he was awarded Best Soloist at the Jazz Festival of Zurich in 1963 for his piano playing. As a result of his recognition, Moraz began performing as the opening act for major jazz artists. By the late '60s, he was mounting tours of his own across Europe; in 1965, he came for the first time to America; and in 1966 and 1967, he was performing in such far-away locales as Africa and the Middle East.

Moraz then began working in group settings after his success as a solo performer. He formed Mainhorse with Jean Restori in 1968, a somewhat radical group that toured throughout Europe into the early '70s. The group released an eponymous album on Polydor before Moraz moved to London and started another group, Refugee, with Lee Jackson and Brian Davidson. It wasn't long, however, until Moraz was onto something new, his biggest opportunity yet. In August 1974, Yes invited him to join them as the group's keyboardist and Moraz accepted. The group had become quite ambitious by this point and began working on what would become one of their most celebrated albums, Relayer, an album that Yes toured behind for three years.

After so much touring, Yes decided to take a break so the group members could explore solo projects. Moraz worked with 16 Brazilian percussionists in addition to a normal bass/guitar/drums band, creating his first solo album, Story of I (1976...
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TimecodeTimecode
Import · Remastered
I-Disk / Time Wave 2006
Audio CD$8.75
$8.74 (used)
Story of IStory of I
Import · Remastered
I-Disk / Time Wave 2006
Audio CD$20.88
Windows of TimeWindows of Time
Hot Productions 1994
Audio CD$8.69
$0.40 (used)
EspEsp
Import
I-Disk / Time Wave 2008
Audio CD$7.05
$8.04 (used)
Future Memories Live on TVFuture Memories Live on TV
Multiple Formats · Import
Voiceprint UK 2008
DVD$7.45
$11.06 (used)
Patrick Moraz IIIPatrick Moraz III
Import
I-Disk / Time Wave 2006
Audio CD$7.23
$7.25 (used)
Out in the SunOut in the Sun
Import · Remastered
I-Disk / Time Wave 2006
Audio CD$11.24
$8.31 (used)
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PATRICK MORAZ discography


Ordered by release date | Showing ratings (top albums) | Help Progarchives.com to complete the discography and add albums

PATRICK MORAZ top albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.35 | 92 ratings
The Story of I
1976
2.54 | 46 ratings
Out In The Sun
1977
3.30 | 35 ratings
Patrick Moraz
1978
2.67 | 18 ratings
Coexistence (with Syrinx)
1980
2.71 | 13 ratings
Future Memories II
1984
1.93 | 16 ratings
Timecode
1984
2.45 | 12 ratings
Human Interface
1987
3.05 | 17 ratings
Windows Of Time
1994
4.00 | 7 ratings
Resonance
2000
4.58 | 15 ratings
ESP
2003
1.62 | 11 ratings
Change Of Space
2009
3.00 | 1 ratings
MAP (Moraz Alban Project)
2015

PATRICK MORAZ Live Albums (CD, LP, MC, SACD, DVD-A, Digital Media Download)

3.05 | 10 ratings
Future Memories (Live on TV - Keyboards' Metamorphoses)
1979
3.19 | 7 ratings
Future Memories I & II
1985
3.88 | 8 ratings
PM In Princeton
1995
2.00 | 1 ratings
moraz live / abbey road
2012

PATRICK MORAZ Videos (DVD, Blu-ray, VHS etc)

PATRICK MORAZ Boxset & Compilations (CD, LP, MC, SACD, DVD-A, Digital Media Download)

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PATRICK MORAZ Reviews


Showing last 10 reviews only
 Human Interface  by MORAZ, PATRICK album cover Studio Album, 1987
2.45 | 12 ratings

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Human Interface
Patrick Moraz Crossover Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

2 stars Beyond binary

Patrick Moraz' solo career has most often been a solo career in the fullest sense of the word, meaning that Patrick does everything himself with no involvement by other musicians. Human Interface is a case in point: composed, arranged, performed, and produced by Moraz.

The best track on this album is the opening Light Elements which reminds me of Vangelis' best works. Next up is another good piece called Beyond Binary which sounds a bit like a cross between Keith Emerson and Vangelis. The third track Cin-A-Maah is also a good one, this time prompting comparisons with Geoff Downes' excellent solo debut album The Light Programme.

Unfortunately, after this the album goes awry. The rest of Human Interface is not as good as the first three tracks. Stormtroops On Loops is nothing but an annoying sound collage but thankfully it is short. Modular Symphony (First Movement) is in the style of Classical music while Goto Ophioplomal returns to electronic territory again. The 10 minute plus Kyushu reminds of Vangelis' China but is overly long and soon becomes tedious. The final tracks are in more New Age style and also feel a bit too long and monotonous.

There are some good moments on Human Interface, predominantly in the beginning of the album, but overall it does not hold up that well. Still, many of Moraz' solo albums are worse!

 moraz live / abbey road by MORAZ, PATRICK album cover Live, 2012
2.00 | 1 ratings

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moraz live / abbey road
Patrick Moraz Crossover Prog

Review by SouthSideoftheSky
Special Collaborator Symphonic Team

— First review of this album —
2 stars "Yes, it's that studio"

It is contestable how "live" this album really is, since it is one of those live-in-the-studio affairs. Applause can be heard between a few of the pieces so there is a small studio audience present, but beyond those rather sparse applause there is no audience interaction to speak of. Like the spoken introduction by John DeBella makes clear, this is Patrick Moraz playing material from his album Human Interface. Moraz is the sole performer, playing a variety of electronic keyboards and percussion instruments. There is also a short interview of Moraz by DeBella included in which Patrick explains his choice of not being supported by a band as "self-imposed limitation". Limitation is probably the right word, and even if this is a brave and quite impressive enterprise, I suspect that the result would have been better with a band.

Oddly enough, the titles of the various pieces performed are not the same as on the Human Interface album. What on the album was called Go To Ophioplomal is here performed under the name of Electronica Classica, and an overture is added to the piece. Light Elements becomes Night Lights; Stormtroops on Loops becomes Scoops of Love; Modular Symphony becomes Molecular Symphony; Cin- A-Maah becomes The Godmother Theme; Beyond Binary becomes Age du Tertiaire; Stressless is renamed Stresslessness; and finally, Kyushu has become Night In Kyoto. The only track from Human Interface not performed here is Hyperwaves.

With the exception of Night Lights - which is the "live" version of Light Elements, the best track on Human Interface - these Abbey Road versions are either slight improvements over their Human Interface counterparts or at least of the same quality, even though the differences between the versions are very small. Night In Kyoto is as boring and overly long here as it was on the album and Stresslessness too is a rather dull number in both versions.

After the brief interview, Patrick performs a piano piece which closes the main part of the radio broadcast programme, the remaining three tracks on this CD being bonus tracks from an unknown (to me) source.

The final assessment of this album is that this is a release primarily for fans and collectors of Patrick Moraz but not recommended for the general Prog fan.

 Out In The Sun  by MORAZ, PATRICK album cover Studio Album, 1977
2.54 | 46 ratings

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Out In The Sun
Patrick Moraz Crossover Prog

Review by Ytse_Jam

3 stars Here we have the second album of the well known swiss keyboardist Patrick Moraz. Primarily known for having participated in the masterpiece of Yes, Relayer, Moraz provides some other good album: during his career, in fact, he worked with the Moody Blues and was named in 1973 to replace Keith Emerson, that just left The Nice to set up the ELP project. Moraz has also produced a series of solo albums, like this Out In The Sun. This is straight crossover prog, since we can hear in it some good pop / rock that recalls Supertram sometimes, created with a Latin vein, as seen in the previous album, Story Of I. Although slightly lower than the previous, also in Out In The Sun we can find some enjoyable ideas. Moraz's keyboards are a bit less virtuoso than Refugee's relese, but it is still dominant and capable of quite good work, in particular in the 9 minute-suite, Time for Change. The voice of John McBurnie does its job well enough, but also the performance of Francois Zmirou, who appears in Love-Hate-Sun-Rain- You, should be mentioned. In conclusion, for 70s keyboards fans and not only, Out In The Sun is good addition to your collection. It is not certainly a must-have, but it's still a good album worth listening to.
 The Story of I by MORAZ, PATRICK album cover Studio Album, 1976
3.35 | 92 ratings

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The Story of I
Patrick Moraz Crossover Prog

Review by Quirky Turkey

3 stars After hearing Yes' Relayer with Patrick Moraz on keyboards I felt obliged to listen his first studio album, which I found was in my lp collection. What I got was an obscure, heavily Brazilian influenced album, full of changes and madness. It's full of Brazilian percussion (just see the musicians list), but it's crossed with crazy, psycadelic, trippy, jazzy, even spacey, synth. It also has piano, singing here and there, and the usual rock instruments: drums, bass, and some guitars. All the music flows and the album is best listened to as a whole.

Impact - This isn't really a song but more of an introduction to the strange tone of this album, although none of it is as 'out there' as this. It's filed with weird sounds and it's kind of creepy. Good though.

Warmer Hands - This is a mix between a proper lyrical song, and a crazy fest of music similar to a lot of other songs. Very enjoyable.

The Storm - Basically a mess of sound and music to create the impression of a storm.

Cachaca - Very weird. It's a happy and corny song that feels like a bunch of children in the jungle having a good time. It's obscure so I welcome it as part of the album.

Intermezzo - This features classical sounding piano and a short female vocal section, sung in French and English at the same time. It's an interesting effect and I would have liked to hear more of it. The song then gets a bit more rockier at the end. Very good stuff. A definite highlight.

Indoors - The first half is a psychedelic solo battle between a synth lead and an electric guitar. Then it turns into what sounds like music suited to Mario Kart, with some lyrics. This is my personal favourite song on the album.

Best Years Of Our Lives - This is probably the closest thing to normality on this album. It's a ballad with subtle touches of Moraz's synth sound. It's a great, emotional song and a good closer to the first half.

Descent - After the tranquil and pleasant song before, this song hits you immediately with a fast-paced and exciting music.

Incantation - A short progression of mysterious and rhythmic music with some tribal sounds thrown in. Works well.

Dancing Now - What's this? Moraz seems to have made a lyrical, pop-like, catchy song. He has ventured away from his interesting and obscure treats. It's not too bad though and still contains a little of the album's unique style.

Impressions - Simply a piano piece with dreamy wave sounds in the background. Not bad.

Like A Child In Disguise - Oh no, another lyrical pop song. And it's even worse than the last one. The problem with these is they don't feel adventurous at all and leave me bored and uninterested.

Rise and Fall - To redeem the album at this point it has gone back to synthy madness with this complex and out-there song. And it's fairly long for this album.

Symphony In The Space - This is an orchestral piece, only the orchestra is all synth. As the name would suggest it's a symphonic, almost spacey sounding song. Good close.

Overall The Story of I is a good album. It's very adventurous and unique with it's fusion of worldly music and prog. Being that it's full of short pieces and it's always changing, the album demands attention when listening to it. I found this album a little hard to feel a connection with, and some parts were a little too experimental and crazy, with no strong melodies that stuck after a listen. But the worst parts were the two emotionless pop songs. They're the faults but there's more good than bad here. I would recommend checking out this album. 3.5 stars.

 Windows Of Time  by MORAZ, PATRICK album cover Studio Album, 1994
3.05 | 17 ratings

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Windows Of Time
Patrick Moraz Crossover Prog

Review by Evolver
Special Collaborator Crossover & JR/F/Canterbury Teams

3 stars When I see an album of solo piano pieces that are not either jazz or strict classical, my first fear is that they will succumb to the bland stylings of artists like George Winston. When I find an album of solo piano by a keyboardist of the stature of Patrick Moraz, who's work with Yes and Bill Bruford I greatly admire, I'll give it a chance.

First, the good parts. The opening piece, InvocationRelayer. The piece is fast and furious, at times reminiscent of vintage Keith Emerson, but always with Moraz' unique flavor. And further along, Talisman, based on the jazz classic Caravan (Now who doesn't sound good playing that piece?) showcases Moraz in a jazzy setting, with even more spectacular results.

But alas, the remainder of the album is much less interesting. I wouldn't say it's bad, but it doesn't have the spark of those two above mentioned tracks. Good background music, rarely elevating to anything more.

2.5 stars, rounded up.

 The Story of I by MORAZ, PATRICK album cover Studio Album, 1976
3.35 | 92 ratings

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The Story of I
Patrick Moraz Crossover Prog

Review by Evolver
Special Collaborator Crossover & JR/F/Canterbury Teams

3 stars Matrick Moraz' contribution to the five individual solo albums that Yes was touting on their 1976 tour (I was there), is not a great album, but it has it's moments. And despite having no other members of Yes, it actually has captured quite a bit of the Yes sound. Well, maybe the early (original lineup, without Wakeman and Howe) Yes, mixed with some Starcastle. But also, throughout, there is Moraz' very fine keyboard playing. There are moments of brilliance from him, but not that approach his amazing work on Relayer.

The music is primarily Yes-like prog, with some French and Brazilian flavors scattered about. Forgive me if I don't name tracks, but my copy is a cassette (since ripped to a CD), the tracks run together, and I can't, for the most part, tell where one song ends and the next begins.

So this is not a bad album, but no way would I call it essential.

 The Story of I by MORAZ, PATRICK album cover Studio Album, 1976
3.35 | 92 ratings

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The Story of I
Patrick Moraz Crossover Prog

Review by Progfan1958

3 stars Steve's Album of the day: "The Story Of I" by Patrick Moraz. I bought this record the day it came out in 1976. At the time Patrick was a member of Yes, and my appetite for anything related to the band was huge. Wakeman had left the band in 1974, and in stepped the amazing Swiss keyboard player from Refugee ( Their debut album in 1974 was another one I grabbed as soon as I heard "The Grand Canyon Suite" on the radio ). I loved this LP when I first heard it, a strange blend of electronic prog, mixed with Brazilian rhythms and fusion jazz. Quite unlike anything else I had heard at the time. Now 35 years on, it has dated a bit, and my enthusiasm is not quite the same, but it's still fun to go back to it from time to time. There is plenty of great playing by all the musicians involved, and Pat's vision must be given credit.
 Out In The Sun  by MORAZ, PATRICK album cover Studio Album, 1977
2.54 | 46 ratings

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Out In The Sun
Patrick Moraz Crossover Prog

Review by techanic

4 stars Where to start? This is my favorite Patrick Moraz album. Is it poppy? Yes. Do the lyrics mostly suck? Yes, but that is a charge that could be fairly leveled at most prog rock IMHO.

So, why do I like this recording? Hard to say. I agree with many of the points of the negative reviews here - the lyrics suck , there is a familiarity with the Latin idioms used here (i.e. they are somewhat cliched) , etc, etc. But this record works for me.

First of all - it is very upbeat. Now, most of my prog favorites (72-74 King Crimson, early Tull, ELP even) are hardly upbeat - but this record is and I like it. It is upbeat and poppy and lyrically quite sappy but the MUSIC is very interesting! Those jazzy keyboard runs appeal to me and almost nobody does them better than Moraz. And he is generous here with juicy snippets at the end of most songs. As if to say "you suffered through those lyrics, here is your reward!".

Ok, I might be biased. My favorite, by far, Yes recording is Relayer which I consider their pinnacle achievement. They could not have made that record with Moraz. I love jazz idioms mixed with rock, they work so much better than classical idioms since they come from the same place.

The Latin rhythms and melodies here work great. The music is interesting, if somewhat pop oriented. Andy Newmark and the rest of the session players are in fine form. This is a happy recording, nothing wrong with that. Like most good music, this takes some time to "get". I get it and I like it and even "Tentacles" won't dissuade me.

Oh but by the way, "Love Hate Sun Rain You" is truly a song to be missed. No saving that one.

 The Story of I by MORAZ, PATRICK album cover Studio Album, 1976
3.35 | 92 ratings

BUY
The Story of I
Patrick Moraz Crossover Prog

Review by progpositivity
Prog Reviewer

5 stars Getting a little bored with the 'same old thing'? Are you genuinely looking for something unique? Then this unusual album from the 1970's just might be for you! Then again, there is a proverb about being careful what you wish for...

What should we even call this music? Jazz-Samba-Brazilian-Prog? World-Music Prog? Jazz Rock/Fusion? No - those descriptions all seem woefully inadequate to me. This is something you really must hear for yourself.

Will you *like* it on first listen? Perhaps. Perhaps not. It is certainly more listenable than many modern classical compositions. It has no shortage of melody and energy. And at the right moment, this one has the potential to flood into your consciousness as a glorious epiphany. Yes, this album has "grand slam" potential in terms of vitality, vision and creativity.

Yes, the production is a little dated. This is a 1976 album we are talking about after all. And everything from the arrangements, the mix, the vocals can be so unexpectedly quirky, even a tad jarring. But therein likes the genius!

This album gets criticized for lack of continuity. Yes, it jumps from "here to there" and back again. But should we really carry pre-conceived notions about stylistic "continuity" into every album? This can become a problematic limitation in my opinion. I'm very familiar with the commercial rock marketing "rulebook" in which an artist is supposed to "color within the lines" of certain stylistic expectations. But I must have somehow missed the Prog-Rulebook that decrees one must not have too much diversity on any one album!

Is there not something adventurous about being jolted out of your comfort zone in the middle of a listening session every now and then? Is there not something exciting about not knowing whether you will float upward or fall off a musical cliff at any given moment?

I'm not saying that I embrace totally *random* changes for the sake of change. But when an artist has a vision of where he is taking you and why he is taking you there, and when the changes fit into the storyline, should he be expected to pause and ask himself whether he might be getting too stylistically diverse? No! I say he should boldly blaze the trail wherever it leads him and leave the work of art for others to dissect and critique many years after the fact!

This is exactly what Patrick Moraz did. Is there any doubt he blazed a brazenly ambitious trail? Here we are. Over thirty years after this album was released. With over forty ratings at ProgArchives, more than one-quarter of them rate "The Story of i" as an "essential masterpiece" of prog. No small feat I assure you.

Don't miss this album! If you don't like it at first, pack it away for a year or two and pull it off the shelf again. For when you "get it"... (if when it "gets you") this album has the potential to "wow" you in a really special way. How can a progger possibly resist such potentiality?

 The Story of I by MORAZ, PATRICK album cover Studio Album, 1976
3.35 | 92 ratings

BUY
The Story of I
Patrick Moraz Crossover Prog

Review by Gatot
Special Collaborator Honorary Collaborator

5 stars I had been thinking FOUR, but I've just realized that it should be FIVE stars...

This morning I planned to post a discussion about Patrick Moraz in my personal prog blog. I usually started the discussion by posting the review that I made before on this site. But I was shocked knowing that I have NOT reviewed this excellent (?) album yet. How come? I have known this album long time ago, in fact when this album was released I purchased the cassette version and it blew me away musically. Don't get surprised that the ballad 'Best Years of Our Lives" was once a major hit in Bandung City when I took my engineering degree. Well, it's not really major but one famous radio kept playing this song in 1979 - 1980 so this song became quite popular at that time.

Is it an excellent album?

In fact, it's been years I assume that this is an excellent album of progrock and the best that Moraz has ever made. But this morning, as I play this album back again I come to realize that it's not just excellent, but it's a masterpiece album - or five stars album. Why? Let me explain in detail as I have robust reasons to support my conclusion.

First off, look at musically.. You would never find any band or artist that had made the kind of music Moraz made with this 'The Story of I'. You cannot call it simply symphonic nor jazz-rock fusion. There are many components and styles that Moraz has masterfully made this album as a masterpiece creation. Yes, there are extensive uses of percussion throughout the album but try compare the style! You would find your efforts useless as there had never been any music that is similar with this album. There are components of space music here, with some latin flavor and of course jazz-rock fusion plus classical music influences. I have never been able to manage listening this CD half-way through as it has always been the whole album - in its entirety! Why? It's because of the experience that I feel, listening to this album is like listening to one long-duration song as all the songs form a cohesive whole. So, the music of this album is so UNIQUE that no one is able to emulate.

Second, the album delivers a solid storyline from start to end with varied compositions that encompass many different songs - most of them are instrumentals but Moraz has successfully composed some shots of vocal line in some songs. As this album was made when the recording format was vinyl so it has its limitation as 'Best Years of Our Lives' is the last song at the A side. The next songs are basically occupy the side B of the vinyl. So, listening to this album is like reading a solid novel where you cannot pick certain pages. Every piece of music presented here are absolutely excellent!

The third reason is the composition: brilliant! From the five dimensions that I usually use in reviewing a composition, this album stands really high. The melody ? i.e. the degree to which the main melody of the song is constructed from a combination of notes; this album is really excellent. The harmonies ie. how each instrument contributes in creating sounds and notes, especially the combination of dynamic percussion work and keyboard it's really fabulous. The complexity of the arrangement i.e. the degree in which the instrument (including vocal) being played by the musicians and how they generate a piece of music stream or segment of the music is also an excellent one. The album also provides a frequent change of style which includes tempo changes and/ or heavy or soft musical sounds. The last one is the structural integrity i.e. the degree to which all musical segments, including changes of style, form a cohesiveness of the music as a whole from start to end. The five components are very fundamental for me to assess my rating towards the music, especially progressive music.

There is no reason for NOT liking this album! You MUST have it ...!!!

Keep on proggin' ...!!!

Peace on earth and mercy mild - GW

Thanks to TR for the artist addition. and to NotAProghead for the last updates

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