Editing Patrick Moraz (section)

===1974–1978: Yes and start of solo career===
Upon his arrival from [[Geneva]] working on a film score for [[Gerard Depardieu]],<ref name=dmme>{{Cite web|url=http://dmme.net/interviews/moraz|title=Interview with PATRICK MORAZ|first=Dmitry M.|last=Epstein|publisher=DMME.net|date=December 2000|access-date=23 May 2016}}</ref> Moraz was asked to join [[Yes (band)|Yes]],<ref name=nfte2000/> following the departure of [[Rick Wakeman]] in May 1974. The band had begun work on ''[[Relayer]]'' (1974), their seventh album, in [[Virginia Water]], Surrey, and sought potential replacements.{{sfn|Welch|2008|page=153}} Moraz had seen the band perform during their tour of Switzerland in 1969.<ref name=innerviews>{{Cite web |last=Prasad |first=Anil |title=Patrick Moraz: Future Memories |url=http://www.innerviews.org/inner/moraz.html |publisher=Innerviews |date=2007 |access-date=23 May 2016}}</ref> After a try-out with Greek musician [[Vangelis]], which proved unsuccessful following musical union issues and his unwillingness to travel, music reporter [[Chris Welch]] suggested to the band's manager, [[Brian Lane (manager)|Brian Lane]], that they ask Moraz. Though he regretted splitting with his Refugee bandmates, Moraz accepted the position as it was an opportunity that he thought would benefit his career,{{sfn|Welch|2008|page=154}} though he once said, "I felt it was time to leave".{{sfn|Morse|1996|page=50}} Moraz's audition occurred in the first week of August 1974{{sfn|Welch|2008|page=155}} with Vangelis's keyboards, which were still set up in the rehearsal room.<ref name=hitchannel>{{Cite web|url=http://www.hit-channel.com/interviewpatrick-moraz-soloyesthe-moody-blues/65590|title=Interview: Patrick Moraz (Solo, YES, The Moody Blues)|first=Από|last=Thodoris|date=18 June 2014 |publisher=Hit-Channel|access-date=26 May 2016}}</ref> After tuning up, Moraz watched the band play the middle section of "Sound Chaser", which he said was "Absolutely unbelievable. To experience that – the truest surround experience I had ever encountered as an observer and listener".<ref name=goldmine/> He was then asked to come up with an opening to it, and what he played ended up on the album.{{sfn|Morse|1996|page=53}}

After his successful audition, Moraz learned their repertoire across seven albums for the ''Relayer'' tour, which began in November 1974.<ref name=goldmine/> When the tour ended in August 1975, Yes took an extended break so each member could produce a solo album. Charisma Records released Moraz's first album as a solo artist, which, due to its title consisting of a symbol which does not appear on standard keyboards, has since become commonly known as ''[[The Story of I]]'' (1976). Since working with the Brazilian ballet, he became interested in percussion and travelled to [[Colombia]], [[Bolivia]], Chile and [[Argentina]] for inspiration, and arrived in Brazil where he gathered "a very, very strong unit of 16 percussionists" to play on his album.<ref name=somethingelse2013/> Moraz invited synthesizer inventor [[Bob Moog]] to contribute sounds on the album; Moog accepted the task, and worked with him for several weeks.<ref name=goldmine/> During this time Moraz also played on [[Steve Howe (musician)|Steve Howe]]'s album ''[[Beginnings (Steve Howe album)|Beginnings]]'' (1975) and [[Chris Squire]]'s album ''[[Fish Out of Water (Chris Squire album)|Fish Out of Water]]'' (1975). Moraz travelled to Brazil and incorporated Brazilian rhythms and musicians on ''The Story of I'', giving it a [[world music]] flavour. Afterward he reconvened with Yes for their 1976 North American tour, where the band headlined several large concerts.

After the 1976 tour, Yes retreated from UK tax collectors to [[Montreux]], Switzerland, to record their next album, ''[[Going for the One]]'' (1977). Some of the material had already been worked out by the time of their arrival; this included contributions to "Awaken", "[[Wonderous Stories]]" and "Parallels" from Moraz.<ref name=dmme/> However, during the early sessions, Moraz was told to leave in order to allow Wakeman to return to the band. Moraz spoke about his departure: "Even though, at the time, the split 'was not made to appear acrimonious', I suffered extremely and extensively. To be 'asked to leave' so suddenly put me in a lot of turmoil and disturbance ... I was never compensated for anything. I never ever got paid for any of my tour participation in the ... tour of 1976 ... I was entitled to a 20% cut from what the band was getting."<ref name=dmme/> In 2014, Chris Squire would suggest that a lack of a musical bond between Moraz and Steve Howe was the main artistic reason for Moraz and Yes parting company.<ref>[https://www.loudersound.com/features/big-generator "Chris Squire: the hands that built prog"], article by Mark Blake in ''TeamRock'', 13 August 2014</ref>

Moraz continued with his solo career and Charisma released his second album, ''[[Out in the Sun]]'' (1977), which he wanted to sound "completely different and more liberated".<ref name=rockmusicwriter>{{cite web |last=Shasho |first=Ray |title=Patrick Moraz Interview: The Extraordinary Keyboardist & Composer/ Prior Member of 'YES' & 'The Moody Blues' |url=http://www.classicrockmusicwriter.com/2014/09/patrick-moraz-interview-extraordinary.html |publisher=Classic Rock Music Writer |date=15 September 2014 |access-date=23 May 2016}}</ref> He then moved to Brazil for a year and a half, and prepared material for his third album. He wanted to title the album "Primitivization", but the record company chose to release it as ''Patrick Moraz'' (1978).<ref name=dmme/> During his time in Brazil, Moraz joined a Brazilian rock band, [[:pt:Vímana (banda)|Vimana]], with [[Lobão (musician)|Lobão]] and [[Lulu Santos]] and [[:pt:Ritchie|Ritchie]]. He also recorded the keyboards in one of the most iconic songs of Brazilian music, "Avohai" by [[Zé Ramalho]].<ref>{{cite web |title=Zé Ramalho – Zé Ramalho |url=https://www.discogs.com/Z%C3%A9-Ramalho-Z%C3%A9-Ramalho/release/3022161 |website=discogs.com |date=1978 |access-date=15 July 2020}}</ref>