Patrick Moraz

February 10, 2017
Cruise To The Edge (Day 4)
Centrum
Royal Caribbean Brilliance Of The Seas
En Route from Cozumel, Mexico to Tampa, FL

Lostbrook 2.0 Volume 193

Source: Church Audio CAFS>CA-9200>Sony M10(24/48)
Location: 20' from stage, left of center

Transfer: Sony M10>Micro SDHC>PC>iZotope RX4 advanced & Har-Bal 3.0>Sound Forge 10>WAV 16/44.1>Trader's Little Helper>FLAC(level 8)

Taper/Transfer/Tracking/Notes: Lostbrook
Mastering: flyingm (peak reduction, amplification, minor edits)
Covers: ethiessen1
Set List: CWS

Disc 1:

01 Intro* (4:45)
02 First Dance (7:29) (John Cage)
03 Sacrifices (3:43)
04 Excerpts from Rite Of Passage (11:00)
05 Excerpt from Future Memories(improv) (11:00)
06 Cachaca # (6:48)
07 Karu (6:50)

Disc 2:

08 Talisman (5:21)
09 Imp�s Dance > The Best Years Of Our Lives (7:17)
10 Relayer Medley + (11:51)
11 Molecular Symphony: Movement 4 (6:45)
12 Over-Boogie (3:11)

* Patrick speaks about Thijs van Leer (Focus), who had warmed up the crowd on piano. He also spoke of John Cage and "prepared piano". He proceeded to play First Dance "under the hood" of the piano using strings of beads and a Slinky among other things while wearing latex gloves to "protect" his fingers. Pre-recorded backing tracks were used during several songs.

# Egg shaker percussion - audience members Joe Cass and Jeff Wagner (see Jeff's notes below)

+ To Be Over/Soundchaser/Soon


Jeff Wagner's Notes:

That was a really special show, not even just because of the more obvious reasons that Relayer is among the best of Yes� main sequence of brilliant works, or the criminally overlooked Refugee album, or his genius Story of i and other solo works. The last time I had seen him on Cruise to the Edge in 2014, it was a variety of synths, only partially on piano. There's an album he released called Live in Princeton, recorded entirely on piano in the early 90s. I picked it up in 1995 or so, and wore it out quickly. Hearing Patrick on piano, it�s indisputable just how underrated he is among the progressive gods of keyboards.

Also special for me personally, I was seated on the actual floor of the atrium of the ship, directly in front of Patrick as he sat at the grand piano. Before playing �Cachaca�, he pulled out two egg-shaped shakers and gave them to Joe Cass. He and Joe had played together in the late-night jam, which takes places between passengers and occasionally professionals. Joe then threw one to me, and I assisted on percussion. Had no idea that would happen, and my contribution was rather frantic. Though on the original track, Moraz was joined The Percussionists of Rio de Janeiro, so I think it was justified that there be an eccentric rhythm. Enjoy this show, I can�t say enough about how much I did.



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