REFUGEE

Refugee's live set consists of a mash-up of the band's original compositions and various old songs from The Nice, which doesn't exactly help counteract the notion that Brian Davison and Lee Jackson were treating Refugee as a way of continuing The Nice by other means. The original material is captured better on their sole studio album, and Moraz' talents would found better use in Yes after he jumped ship, so the album is really solely for hardcore Refugee fans who are desperate to own all the official releases from the band - and how many people are head-over-heels for Refugee in the first place? Not many, I'd wager. Some CD editions of the debut album include this material as a bonus, but if you already have the debut and the original releases by The Nice I wouldn't put the effort into tracking this down if I were you. because you've already got all this material in greatly superior quality renditions.

Of course, it would also be incorrect to regard Refugee as a continuation of The Nice by other means; despite retaining the power trio format, Moraz showboats less as a keyboardist and has mildly different classical influences. At the same time, the album is a competent and enjoyable collection of prog compositions which fail to really offer anything in the way of a unique selling point. It feels to me as though the band put the album out a shade too early - that if they had a bit more time to both refine their compositions and to actually hit on a distinctive personality and sound for the band rather than sounding as flat and generic as they do here, they might have been on to something.

As it stands, it's nice, but I can see why Charisma passed up the chance to sign them on for a second album and I can also see why Moraz left for Yes, because there were some genuinely interesting and innovative stuff happening in the Yes camp at the time whilst this album sounds like a mild throwback to previous phases of the prog revolution. Quite simply, Davison and Jackson had fallen behind the rest of the prog pack, and Moraz' talents only really had an opportunity to shine when Jon Anderson and crew gave him a chance to join them at the cutting edge.

The sound quality is reasonable good throughout, although not super. Even so what you get is an utterly indispensible live document, of one of Prog's shortest lived super groups.

Of course people are going to draw comparisons with the Nice, and indeed at times there are moments that sound very Nice like. Hardly surprising, But Blinky never played this fast with Emerson, and Jackson's bass playing seems to have come on leaps and bounds in the few years between the demise of the Nice and Refugee.

What a great band, and what a shame we only have this and the studio album to listen to now.

The only minus is Lee's vocals, which were never strong, but are mostly acceptable. Technically Moraz is a better keyboard player than Emerson, although maybe just a little less lyrical. Even so he is awesome on this record, as on the brilliant studio album. The good news is that you can buy a 2 disc version of the recording with the Refugee album, at a very reasonable price.

If you do not yet own this, and are a fan of either the Nice or ELP, then really this should be your next purchase because it is awesome. 5 star music, but I will dock 1 star to take into account the less than perfect sound quality. Even so essential for all fans of symphonic prog.

What a real keyboard driven prog album this is! Patrick Moratz is absolutely ON FIRE through this whole record, and he is definetly up there with the likes of Rick Wakeman, Jon Lord and Keith Emerson.

I love the whole album, especially the long suites "Grand Canyon" and "Credo" The only negative thing on this album is the vocals. Lee Jackson does a great job on the bass, but I dont think he holds up as a vocalist. So, it's a good thing there aren't a lot of vocals on this album.

The drumming is also excellent throughout, and makes me wonder why the hell Brian Davison did not drum like this with The Nice.

4,5 stars for this damn good album. I would have given it a 5 star if the vocals were better.

Despite the absence of Emerson, the style and sound of this album is nearly identical to The Nice, minus some of the silliness. Moraz plays primarily on the Hammond organ and piano, and while not as bombastic as Emerson in approach, uses a similar combination of jazz and classical stylings. His synth work on the other hand, has a more Wakeman-like feel. The speed and fluidity of his playing shows why Yes chose him as a suitable replacement.

The songs are reminiscent of The Nice, with symphonic sections, which give way all too often to simplistic one chord jamming. Jackson and Davison sound faster and tighter than on the Emerson albums, But Jackson's barroom vocals are still much too grating for this style of music.

The best tracks are the opener, Papillon, and the long closer Credo. But all of the tracks are saved by Moraz' great keyboard work.

4 stars, despite the vocals.

"Papillon" The opener boasts involved, technically demanding piano and synthesizer work that rivals the best of ELP. Even still, there's an annoying, warbling, buzzing synthesizer thread that's strung through the middle.

"Someday" The first song of the album introduces (or re-introduces) the listener to one of the most irritating voices of progressive rock. Surely Lee Jackson has decent moments, but much of the time, the man uses this whiny, grating, nasally voice that surely cannot be natural! The music is okay, but the vocals are almost too distracting to even pay much attention to it.

"Grand Canyon" Using light synthetic textures, the opening of this extended track reminds me of music from Olias of Sunhillow by Jon Anderson, only with some bass jamming that somewhat robs the beginning of its grand effect. As Brian Davidson works out his snare, Moraz showcases his immense talent and dynamic ability. Abruptly it turns into a classical piano piece that manages to incorporate a bit of jazz. Jackson is inoffensive as a singer when he arrives. Without transition (again), the music turns into quick bites of incoherent organ and drums. What follows is tremendously overindulgent, gaudy, and downright goofy, although after a while, the music takes shape and symphonic splendor returns, albeit briefly.

"Ritt Mickley" Thick, spacey synthesizers begin this one. After it sounds like someone has knocked over everything in the kitchen, a coherent piece of music begins, and it's quite decent, charming in many ways. It's happy, upbeat, full of whimsical keyboard moments, and downright entertaining, even if rhythmically simplistic.

"Credo" The extended finale of the album begins with ominous piano. Indeed, the piano plays a large role; even when handling the background and letting Jackson solo on his swampy-sounding bass, Moraz's fingers are incredibly busy. A church organ interlude interrupts the whole piece close to the middle. Jackson's voice grows increasingly grating, though thankfully is pushed down in the mix in a few places. Too bad, because the vocal melody is quite good most of the time. Overall, "Credo" is needlessly lengthy, basically pasting several unrelated bits together (a common but usually ineffective method of composition in my opinion). Some of those bits are good, and others aren't.

The existence of Keith Emerson might have been important for "The Nice". It might have felt feelings of grief increasing for the member who had accepted the result of Keith Emerson's shifting to ELP for a fact. It flowed to the situation in which a separate route was established as a result though "The Nice" thought about the replenishment of the new member.

Brian Davison formed "Brain Davison's Every Which Way". This band performed to NationalJazz&BluesFestival and announced the album. However, the success that projected as a result was not able to be acquired. Lee Jackson formed "Jackson Heights". Own music character is left and men who challenged from the angle besides The Nice have left the album. However, it dissolves because of the activity of about three years. And, Brian Davison and Lee Jackson will be joined again as a result. And, it has the flow that schemes the reproduction of "The Nice".

Patrick Moraz had received the lesson of Violin, the piano, and the percussion instrument in the childhood. And, the music of Jazz and classics had been absorbed at the same time. Patrick Moraz performs to the contest at 17-year-old time and puts excellent results. And, Patrick Moraz had received the nomination that acquired the right of the lesson by Stephane Grappelli and went with the tour of John Coltrane. Patrick Moraz that learns Jazz and classics goes to Britain as follows and develops the place of the activity of music. "Mainhorse" of his own band was taken an active part to some degree. And, Patrick Moraz had details that had come in contact with the member of "Yes" at this time. And, it had Brian Davison, Lee Jackson, and the exchange.

A musician necessary to create the band that Brian Davison and Lee Jackson are new was Patrick Moraz. Patrick Moraz that held dissatisfaction in the activity of "Mainhorse" was just acknowledged to the invitation of the joining to a new band by Lee Jackson. Directionality concerning the construction of the exchange and the band that three people of the situation to date had done might have agreed by a fatal meeting. At that time, they might have tried to get the answer to music to active ELP. Refugee contracted to Charisma Label is announced in April, 1974. The producer has appointed John Burns known on business with Genesis.

The music character at which Brian Davison and Lee Jackson had aimed will have been exactly pursuit of the possibility of Trio. And, the element of development from "The Nice" might have been considered to some degree. The attempt in which the element of the song that Lee Jackson cultivated in the music of "Jackson Heights" is reflected in this band might be included. And, the existence of Patrick Moraz with an overwhelming technology is demonstrated in the activity of the following Yes. However, zeal individuality that they had them contain it in this Trio and at that time might be reflected in the music that they all did. Part where it challenged limit of Trio. And, the height of the perfection of Ensemble. Or, the construction of the composition of the tune will be able to be caught as symphonic of fine quality.

The element of classics and uniting symphonic of "Papillon" are complete. The expression and the dash feeling of an original sound are produced with the element of classical progressing. Part of dash feeling in which dynamics is multiused. Flow of keyboard that gives rhythm and anacatesthesia intermittently repeated. Line of Bass that produces aggressive sound. The music scale of the keyboard to get on a complete dash feeling and Chord and the processing of Ensemble might be splendid. This tune is a greeting from Refugee to complete.

A unique song of Lee Jackson contributes to "Someday". The sensibility of Patrick Moraz that applies Chord of a grand melody and good symphonic well might be splendid. The melody of Patrick Moraz that has both the element of Jazz and classics catches a lot and expresses a good part. The music character that they cultivated is splendidly expressed.

"Grand Canyon" will make the listener imagine the spectacle that nature began to make exactly. Construction of sound with transparent feeling and sound of swinging keyboard. Great power of nature is created. It is not only a part of complete symphonic and Ensemble is also complete. Dash feeling that appears intermittently. Part of grand melody sung attended with melody of acoustic piano. Processing to listen to part of union of melodies and average of sound with expression of feelings. Part of intermittent melody that continues tension. The performance of the band that puts a complete dash feeling on seven rhythms and combines will call impression. The composition is splendid.

The melody of the swinging keyboard produces the tension to "Ritt Mickley". The sound of the keyboard with a complete technology shifts to the part of good Groove with the performance of the band. It progresses as the sound with diversity twining. Element of classics that appear on the way. The usage of six rhythms and coming in succession of the melody give a good impression. Individuality and the possibility of this Trio might be completely drawn out. By the way, it is said that this "Ritt Mickley" was made from "Rhythmicaly" that Patrick Moraz pronounced to the name of a song.

"Credo" might be one of the highlights of this album. The tune starts from Solo of a grand, acoustic piano. The construction of a beautiful melody might be splendid. The piano and the keyboard advance with the element of classics completely. A solemn impression continues. And, it listens to a composition that has the tension and the dash feeling and is splendid an advanced song and to perform. The performance of the band that consistently constructs the part of grand symphonic might have good zeal. Melody of song with expression of feelings. Part of six rhythms in which it listens to complete ensemble. The tune gradually receives the top. And, their maximum charms explode completely.

The activity of Refugee never continued long. However, the music character that they constructed with this band might be symphonic Rock expressed with a complete technology and the idea.

The album is excellent. I´m not a very great fan of keyboards led bands, and the trio format like this (keys-bass-drums) is hardly my favorite. Still I think they managed to release one of the best albums in that style. Moraz never sounded so powerful and creative! And this combination worked very well. The fact that the band didn´t make it is easy to understand (even if equally unfair): the public saw Refugee as just an atempt to revive The Nice. And that was not the case, but the damage was done and few people did notice this album at the time. Which is really a pity. there are some great tunes on this album and the playing is simply superb: a great mix of classical music, symphonic rock and even some jazz rock/fusion moments here and there.

Besides Moraz extraordinaire skills on the keys, I have to say I liked a lot what jackson and Davidson did on this CD. It was truly a remarkable work and should be heard as it is: a whole new group. Even Jackson´s voice is not as bad as some reviewers say (though it is also clear he is no Greg Lake!). The longer tracks Grand Canyon and Credo are the highlights here. Both show the band at its best, promising a future that would never come, but leaving a terrific gem for the future generations.

It took me several years to hear this album, but it was worth the wait. And I recommend to any symphonic prog fan. 4 strong stars.

I believe Refugee was casting some glances over towards ELP and the instant success they got. This because The Nice in the form of Refugee moved towards the same territory. If possible, I feel Refugee is more jazzy and baroque classical influenced than ELP. More symphonic than ELP in other words. Patrick Moraz is the main difference here. But both Lee Jackson and Brian Davison is given free reigns here and they really produce the goods. But this album will mostly be remembered as the Moraz showpiece. And this is fully deserved. Patrick Moraz really dominates this album with his superb tangents. Either on piano, moog or synths. His fluent play is an absolute treat here.

The major gripe with this music is the lack of a real signature track. At least ELP had some really moments of sheer brilliance on their albums. This album has none. But it is still very good with some excellent details. The other problem is Lee Jackson's vocals which in Refugee too is pretty awful. No developments from The Nice, in other words. But the vocals is not pushed in the forefront on this Patrick Moraz dominated album so it is not a major issue.

The quality is pretty good and this is clearly an album all ELP fans will love. I am a fan myself and I really like this album. It is most definate one of the best ELP-like albums out there. This is an excellent album.

3.75 points