A Review by Rizal B. Prasetijo : Patrick Moraz's Future Memories, consisting of two parts, was first released on Dec 29,and was based on the principle of spontaneous musical interpretation filmed by several video cameras as the performance was taking palce. Given the concept, I think you'll only be able to fully obtain the essence of the album, if you listen to it in the AV mode. Hence, since I only buy the CD version and listen to it in my hotel room's Bose two dimensional crapy sound systemthere is considerable risk that my comment will only partially portray the album's full picture.
My first impression on the album is Mr. Moraz attempted to create futuristic sound generated by his dozen different types of powerful keyboards. Listener should note that the album was recorded in late when the first prototype of Yamaha DX7 the world's most successful polyphonic digital synthesizer has just been completed. There was no equipments listing mentioned in the album sleeve.
But looking at some available photos, I guess that Mr. While these keyboard rigs were very powerful in the late 70s contextrather than seriously creating well balance cohesive composition, I sense that Mr.
Moraz opted to explore the technology limit of his gears. In the nutshell, this is an experimental album, but lack of clear line of thinking. While you could hear Mr.
Moraz's strong classical and jazz approach He was indeed classically trained at the Conservatory of Lausanne and played jazz before entering the prog rock space in Here Comes Christmas Again track 1 as well as in Eastern Sunday track 2the remaining tracks are mainly his efforts to find technical boundaries on what his Patrick Moraz - Future Memories II (Cassette) could achieve in his musical ability coridor. If you ask me what is the best track of this album, I won't be hesitant to say that it is the latest track 11titled "Chess".
Moraz opened the composition by borrowing JS Bach's signature stacato played in violin mode, beautifully describing the opening move of a chess player. Then, if my ears hear properly, he jumped into his Hammond T tonewheel? At ", the composition is abruptly switched into a drumming synthesizer session, reflecting an increasing heart beat of the chess player, knowing that his opponent launches a counter attack.
The drumming session Patrick Moraz - Future Memories II (Cassette) then gradually toned down by his synthesizers played in the classical mode similar with what he did in the beginningsymbolizing the ability of the chess player in regaining back his confidence and in reading his opponent's strategy.
Overall, I am not musically stimulated by the album or perhaps I don't get the full picture as I hear it in the CD mode. But I do appreciate Mr. Moraz's efforts to explore the technology boundary of his keyboards. 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. 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.
First, the good parts. The opening piece, Invocation Relayer. The piece is fast and furious, at times reminiscent of vintage Keith Emerson, but always with Moraz' unique flavor.
And further along, Talismanbased on the jazz classic Caravan Now who doesn't sound good playing that piece? 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. 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 CDthe 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. So, why do I like this recording? Hard to say. I agree with many of the points of the negative reviews here - the lyrics suckthere is a familiarity with the Latin idioms used here i. But this record works for me. First of all - it is very upbeat. 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 without 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. No saving that one. Review by progpositivity Prog Reviewer. What should we even call this music? World-Music Prog? No - those descriptions all seem woefully inadequate to me. This is something you really must hear for yourself. 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, Patrick Moraz - Future Memories II (Cassette).
Yes, the production is a little dated. This is a 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 Patrick Moraz - Future Memories II (Cassette) that decrees one must not have too much diversity on any one album!
Patrick Moraz - Future Memories II (Cassette) 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?
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?
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" How can a progger possibly resist such potentiality? Copyright Prog Archives, All rights reserved. Please consider supporting us by disabling your ad blocker.
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 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; inhe came for the first time to America; and in andhe 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. It wasn't long, however, until Moraz was onto something new, his biggest opportunity yet. In AugustYes 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 to Patrick Philippe Moraz - Born June 24, Morges, Switzerland After playing a role in the success of YES ' Relayer album inkeyboardist Patrick Moraz launched a solo career and became one of the more celebrated keyboardists of his age. After so much touring, Yes decided to take a break so the group members could explore solo projects. Atlantic released the album and it impressed many, winning Moraz much admiration.
He released several follow-up albums for different labels, the first of which, Out in the Suncontinued to explore his interest in Brazilian music. Following the success of Out in the Sun, the Moody Blues invited him to join the band on its world tour for the comeback album Octave. Following the tour, Moraz helped the band craft Long Distance Voyager, a huge success for the band. While with the Moody Blues, he continued recording solo albums.
His other early-'80s works were equally as daring, though not always popular. ByMoraz had decided to part ways with the Moody Blues and continued to concentrate on his long-running solo career.
Studio Album, 3. Studio Album, 2.
Stan - Knifven - Skuggfigurer (Vinyl, LP), Dragonfly, Na Na Na - Various - News Nostalgia (CD), Tequila Sunrise, Certes Certes - François Tarot - La jeune fille dans sa chambre (CD, Album), Maiglöckchen Und Die Blümelein - Felicity Lott, Ann Murray, Graham Johnson (2) - On Wings Of Song (, Gladys Knight And The Pips - Between Her Goodbye And My Hello (Vinyl), Meditate - Hyrule War - Famous In Vegas (File, MP3, Album)