Where is the love for PATRICK MORAZ??

The flourishes in "Gates of Delirium" after "and guide the leaders hands [garbled] in glory to the cause!" rule! And then the battle between him and Howe later rules even more!!

(wakeman generally sucked when he WAS in yes)

http://www.patrickmoraz.com/

WHAT TIME IS IT? A CONCEPT IN THE ILLUSION OF TIME SENSES, TIME AND UNITY

So many places, so many faces, so many notes, so little time. So much time, so few places, so few faces, so few notes!

Is time just a concept or really a constant? And if so, to what, to whom, to where, to when? Which Time is it? Eternal? Absolute? Constant? Relative? Referential? Real? Objective? Relative-constant? Relative-constant to the Absolute? etc., etc...Is Time an Illusion? If so, is TIME FELT the Reality? ALL IS RELATIVE!

While listening to this CD, you may feel that you are "spending" only a few minutes, or maybe an hour (give or take a few seconds), depending on your emotional response based on so many different factors at that particular moment.

Each NANOSECOND spent listening to this music will make you "feel" the time with various degrees of accuracy "relative" to the time established on this planet to determine finite durations (in contrast to eternity). Suppose this "established" time, let's call it "objective-time" is the constant measure systematizing the sequential relations that each event has to any other (past, present, and/or future), You, nevertheless, will feel the "variance" of time during the listening experience, affected by your own emotions which are generated by or through your very own SOUL, (which, is , itself, eternal and therefore in exact opposition to any finite duration).

Speaking of opposite, would you say time spent, or time gained? (You may agree or disagree!). Whichever your preference, suppose time itself, as pertaining to a system based on some primary units (length, mass, time, seconds, hours, days, centuries, etc.) is a constant in the Absolute. And the time "needed" to listen to this CD in its entirety is also a constant, though relative, because it represents a "referential" passage in the absolute, the "passage" of time, the two entities cancel each other for the duration of the relative-absolute. As the duration of Eternity is impossible to fix (since Eternity is infinite) and because the two "constants" cancel each other during the specific "passage" of that time (representing EXACTLY 3600 seconds), what's left is the individual "feeling" of having SPENT, or GAINED, and AMOUNT OF TIME which is DIFFERENT to that of the established absolute unit and which represents the given situation evaluated by the conscious, the subconscious, or the unconscious mind in relation to the personal "feeling" of each and everyone's soul. As "Time is of the Esssence," and the "Soul being the Essence," Time, whether deemed the absolute constant or the relative-constant, looses its constancy and becomes relative to itself during the "referential passage," which then becomes the measuring instrument of that relativity by becoming the constant.

The reason I chose to set the duration of this album to exactly one hour was motivated by two main factors:

1. Being able to control the outcome of the output of "extemporized" material (extemporaneous/extemporization whose latin etymology "ex-tempore" meaning literally outside time) thought critical listening for selection purposes by reasons none other than the highest impact of the music on a level of emotional essentiality rather than technical perfection or specific timing in the present context; which actually seems paradoxical, or even anachronistic, but demonstrates clearly that by exploring the depths of one's thoughts, there can be complete interactivity, in the form of creative agreement between two forces in opposition, i.e., the right side of the brain, the inspiration (poetry of creation) and the left side of the brain, the mechanical manipulation (prose of fabrication), thus enhancing the degree of "productive creativity" due to a faster, more instantly responsive "emotional-stimulus" (Instant-Response-Feedback) versus a slower "memory-access-time."

2. My desire to offer the listening FREEDOM OF CHOICE to enjoy, after evolutive and personal accurate evaluations--hence the 3600 second exactly--the passage of the "elapsed" time, from an EMOTIONAL state, based on one's individual pure emotion of the soul or one's complete (or partial but NATURAL), suspension of consciousness induced by the PERCEPTION of one's "TRUE FEELING," rather than by the establishment of a dictated, rigid, unemotional and inexorable march of a measurement artifically perpetuated to "CONTROL ABSOLUTELY," and which is pushing humankind from a state of relative freedom to that of an inevitable, unbearable, involution.

I feel compelled to address the fact that, still inside the mother's womb, the unborn baby's strongest perception through the senses is the heartbeat's rhtyhmic, and sometimes arrhythmic pulse of the mother, as they are still "communicating" through the umbilical cord, the first timely perception of the outside environment the human child comes to at birth, happens through sound. Our auditory apparatus is the only one of the five senses that can evaluate accurately time in its constancy, as well as time in its relativity. Even if one can "see" time through one's eyes, either on a time-keeping device or through astronomic calculations, the evaluation from the sense of vision must by in relation to the "movement" of that vision, be it natural (elements, sunset, sunrise, day, night, etc.) or artificial (movie, television, computer graphics, games, etc.)

The other senses, touch, taste, and smell have to rely on extremely complex memory-related and not-so-accurate evaluation-mechanisms and cannot, at least up until now, differentiate time-increments as precisely as seconds, milliseconds, much less nanoseconds.

In a not too distant future, our organisms might be able to smell, taste, and/or touch time on a much more accurate basis. However, it is through our hearing and, on a somewhat more limited basis, visual senses that the highest level of accuracy is achieved in the perception of time. Time being constant, time means regularity. Therefore unity. What does unity mean in the context of time regularity? Unity is the state of being combined with others to form a greater whole. Starts with one or has the "synchrony" of ONE. Because of time, rhythm, meaning the division of time as a constant entity in the context of regularity is the engine of synchrony. Synchrony is the mechanism of togetherness that entities of different and non-specific origins need to communicate between each other and cause contemporaneousness to happen, given a certain context, simultaneously or not. That contemporaneousness creates a unity which makes the whole end product greater than the sum of its non-specific original entities.

Or:

The WHOLE is greater than the sum of its parts

TIME IS THE CURRENCY
OF OUR FUTURE
SPACE ITS BANK

INFORMATION IS THE FREEWAY
OF OUR KNOWLEDGE
CREATIVITY ITS CONTINUUM

FREEDOM OUR SURVIVAL

THE POWER OF AN IDEA
LIES
IN THE SIMPLICITY
OF ITS DELIVERY,
BUT
THE POWER OF A/THE WORD
LIES
IN THE SIMPLICITY
OF ITS INTERPRETATION..."

WHAT TIME IS IT? A CONCEPT IN THE ILLUSION OF TIME SENSES, TIME AND UNITY

So many places, so many faces, so many notes, so little time. So much time, so few places, so few faces, so few notes!

Is time just a concept or really a constant? And if so, to what, to whom, to where, to when? Which Time is it? Eternal? Absolute? Constant? Relative? Referential? Real? Objective? Relative-constant? Relative-constant to the Absolute? etc., etc...Is Time an Illusion? If so, is TIME FELT the Reality? ALL IS RELATIVE!

While listening to this CD, you may feel that you are "spending" only a few minutes, or maybe an hour (give or take a few seconds), depending on your emotional response based on so many different factors at that particular moment.

Each NANOSECOND spent listening to this music will make you "feel" the time with various degrees of accuracy "relative" to the time established on this planet to determine finite durations (in contrast to eternity). Suppose this "established" time, let's call it "objective-time" is the constant measure systematizing the sequential relations that each event has to any other (past, present, and/or future), You, nevertheless, will feel the "variance" of time during the listening experience, affected by your own emotions which are generated by or through your very own SOUL, (which, is , itself, eternal and therefore in exact opposition to any finite duration).

Speaking of opposite, would you say time spent, or time gained? (You may agree or disagree!). Whichever your preference, suppose time itself, as pertaining to a system based on some primary units (length, mass, time, seconds, hours, days, centuries, etc.) is a constant in the Absolute. And the time "needed" to listen to this CD in its entirety is also a constant, though relative, because it represents a "referential" passage in the absolute, the "passage" of time, the two entities cancel each other for the duration of the relative-absolute. As the duration of Eternity is impossible to fix (since Eternity is infinite) and because the two "constants" cancel each other during the specific "passage" of that time (representing EXACTLY 3600 seconds), what's left is the individual "feeling" of having SPENT, or GAINED, and AMOUNT OF TIME which is DIFFERENT to that of the established absolute unit and which represents the given situation evaluated by the conscious, the subconscious, or the unconscious mind in relation to the personal "feeling" of each and everyone's soul. As "Time is of the Esssence," and the "Soul being the Essence," Time, whether deemed the absolute constant or the relative-constant, looses its constancy and becomes relative to itself during the "referential passage," which then becomes the measuring instrument of that relativity by becoming the constant.

The reason I chose to set the duration of this album to exactly one hour was motivated by two main factors:

1. Being able to control the outcome of the output of "extemporized" material (extemporaneous/extemporization whose latin etymology "ex-tempore" meaning literally outside time) thought critical listening for selection purposes by reasons none other than the highest impact of the music on a level of emotional essentiality rather than technical perfection or specific timing in the present context; which actually seems paradoxical, or even anachronistic, but demonstrates clearly that by exploring the depths of one's thoughts, there can be complete interactivity, in the form of creative agreement between two forces in opposition, i.e., the right side of the brain, the inspiration (poetry of creation) and the left side of the brain, the mechanical manipulation (prose of fabrication), thus enhancing the degree of "productive creativity" due to a faster, more instantly responsive "emotional-stimulus" (Instant-Response-Feedback) versus a slower "memory-access-time."

2. My desire to offer the listening FREEDOM OF CHOICE to enjoy, after evolutive and personal accurate evaluations--hence the 3600 second exactly--the passage of the "elapsed" time, from an EMOTIONAL state, based on one's individual pure emotion of the soul or one's complete (or partial but NATURAL), suspension of consciousness induced by the PERCEPTION of one's "TRUE FEELING," rather than by the establishment of a dictated, rigid, unemotional and inexorable march of a measurement artifically perpetuated to "CONTROL ABSOLUTELY," and which is pushing humankind from a state of relative freedom to that of an inevitable, unbearable, involution.

I feel compelled to address the fact that, still inside the mother's womb, the unborn baby's strongest perception through the senses is the heartbeat's rhtyhmic, and sometimes arrhythmic pulse of the mother, as they are still "communicating" through the umbilical cord, the first timely perception of the outside environment the human child comes to at birth, happens through sound. Our auditory apparatus is the only one of the five senses that can evaluate accurately time in its constancy, as well as time in its relativity. Even if one can "see" time through one's eyes, either on a time-keeping device or through astronomic calculations, the evaluation from the sense of vision must by in relation to the "movement" of that vision, be it natural (elements, sunset, sunrise, day, night, etc.) or artificial (movie, television, computer graphics, games, etc.)

The other senses, touch, taste, and smell have to rely on extremely complex memory-related and not-so-accurate evaluation-mechanisms and cannot, at least up until now, differentiate time-increments as precisely as seconds, milliseconds, much less nanoseconds.

In a not too distant future, our organisms might be able to smell, taste, and/or touch time on a much more accurate basis. However, it is through our hearing and, on a somewhat more limited basis, visual senses that the highest level of accuracy is achieved in the perception of time. Time being constant, time means regularity. Therefore unity. What does unity mean in the context of time regularity? Unity is the state of being combined with others to form a greater whole. Starts with one or has the "synchrony" of ONE. Because of time, rhythm, meaning the division of time as a constant entity in the context of regularity is the engine of synchrony. Synchrony is the mechanism of togetherness that entities of different and non-specific origins need to communicate between each other and cause contemporaneousness to happen, given a certain context, simultaneously or not. That contemporaneousness creates a unity which makes the whole end product greater than the sum of its non-specific original entities.

Or:

The WHOLE is greater than the sum of its parts

TIME IS THE CURRENCY
OF OUR FUTURE
SPACE ITS BANK

INFORMATION IS THE FREEWAY
OF OUR KNOWLEDGE
CREATIVITY ITS CONTINUUM

FREEDOM OUR SURVIVAL

THE POWER OF AN IDEA
LIES
IN THE SIMPLICITY
OF ITS DELIVERY,
BUT
THE POWER OF A/THE WORD
LIES
IN THE SIMPLICITY
OF ITS INTERPRETATION..."

i think you've corrected me on moraz before!! i am still trapped in my 15-yr-old judgments a bit i think (except for liking relayer, which came with a RUSH abt a year ago)

Verily, thou Relayer/Moraz lovers are on the pipe. The best Yes album is Close To The Edge and Wakeman was/is their best keyboard player.

Music For Flags is very good, though. Synclavier madness.

Also classic for winning the Swiss lottery in the 1970s and spending all the winnings on a recording studio and every synth in existence then.

Anyone heard Moraz's The Story of i?

Their album is one of the best prog rock albuns ever made.

even TONY KAYE?!?

i heard "the story of i" at school: i remember it as self-absorbed and noodly (ceddy is right tho it DID have a world-music-b4-world-music-wz-in tang to it)

I like "Relayer", but I don't think it's as good as any of the yes albums that came before it, though it's better than any that came after, for sure.

I don't think abt Patrick Moraz very often, I must admit.

I forgot to email that prog reviews site you gave me the address of, sorry. I'll do it tomorrow!

Pashmina, if you didn't like it, why did you describe it this way?! It sounds incredible!

Wow... The Story of I is deeply crazy + flamboyant high prog - the pronounced Brazilian elements pretty unusual for this genre at the time, no? (Speculation: did Moraz bring the TCHA TCHA TCHA! TCHA TCHA! bit to Relayer?)

I found the Refugee album at the record shop today. total score!!! at least I thought it was, turns out it's a pretty common record. I think it's pretty cool, like "what if The Nice just morphed into ELP?". Moraz is really great on it. he's got a ton of really cool sections on it. one that sounds like The Nice's "Rondo" nearly morphing into the Simpsons theme. wonder if they would've made a few more albums had Yes not poached him. it astounds me that Lee Jackson is still doing the vocals. he sucks so fucking much. his voice blows out on the first very line on the album!

and YES The Story of I is a very odd and amazing prog record. so many of the 70s Yes solo albums just sound like "Yes minus" but this one (and fine, Olias of Sunhollow) are actually really great on their own. Moraz seemed like one of the few dudes who may have been able to keep prog somewhat fresh into the late 70s. curious what, if anything, he'd done since '76 that's worth a listen.