Refugee (Reis) [Import]

Refugee, ????? | Format: Audio CD

Product Details

• Audio CD (May 15, 2006)
• Number of Discs: 1
• Format: Import
• Label: I-Disk / Time Wave
• ASIN: B000F3A7SW
• Also Available in: Audio CD
• Average Customer Review: 4.4 out of 5 stars  See all reviews (10 customer reviews)
• Amazon Best Sellers Rank: #295,799 in Music (See Top 100 in Music)

Track Listings

1. Papillion

2. Someday

3. Grand Canyon Suite: 1st Movement: The Source

4. Grand Canyon Suite: 2nd Movement: Theme For The Canyon

5. Grand Canyon Suite: 3rd Movement: The Journey

6. Grand Canyon Suite: 4th Movement: The Rapids

7. Grand Canyon Suite: 5th Movement: The Mighty Colorado

8. Gatecrasher

9. Ritt Mickley

10. Credo: 1st Movement Prelude

11. Credo: 2nd Movement I Believe (Song/Part 1)

12. Credo: 3rd Movement Credo Theme

13. Credo: 4rd Movement Credo Toccata & Song (The Lost Cause)

14. Credo: 5th Movement Agiato

15. Credo: 6th Movement I Believe (Song/Part 2)

16. Credo: 7th Movement Variation

17. Credo: 8th Movement Main Theme & Finale

Customer Reviews

Most Helpful Customer Reviews

23 of 23 people found the following review helpful:

4.0 out of 5 stars Thank God This Has Been Reissued!!!, July 25, 2006

By 

P. McKenna "theowlwatches" (Atlanta GA) - See all my reviews
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This review is from: Refugee (Reis) (Audio CD)

Every once in a while, an unexpected gem, a diamond in the rough will surface. The sole album by Refugee is most certainly one of those "diamonds in the rough" and a bloody spectacular one at that!

Refugee came together for a wonderful moment in time in 1974, with two ex-members of Keith Emerson's old band The Nice (Brian Davidson on drums and percussion, Lee Jackson on bass and occasional growling, raspy vocals) teaming up with a then unknown Patrick Moraz on numerous keyboards. Patrick had been previously doing film scores, music for dance companies and a whole ton of other ventures (including a prog band called Mainhorse). Super-Groupitis or ELP knockoff you might be saying? Here, thankfully the answer was NO on both counts!!

All the right ingredients were in place, strong colorful compositions, forceful powerful musicianship, a vast sonic palette and even a bit of humor not normally associated with this type of music.

"Papillon" starts things off in genuinely frantic fashion conjuring up images of a chase scene in a movie. I could be wrong, but I'm assuming this was inspired by the story of a man who escaped from the notorious Devil's Island prison. Especially cool is that creepy mellotron figure just in the background and Brian's insistent drumming pushes the piece along to a rousing conclusion, along with Patrick's wonderful outbursts on Hammond organ and mini-moog (sounding almost guitar-like).

"Someday" is a spiteful little ditty about an ended relationship with lots of colorful Moraz musings! This could've easily lapsed into a cheesy pop tune in lesser hands, but here, it turns into a masterpiece of spite. The only quibble I have here (and on a couple other cuts) is Lee Jackson's vocalizing, which for me just doesn't cut it. Thankfully, vocals are not a dominant feature of the album, otherwise it would be rough going.

"Grand Canyon Suite" (not to be confused with the Grofé orchestral piece) is the first of two epics on this disc. Here, Patrick's extensive film scoring experience really pays off, as he and the band conjure up such vivid musical images of this wonderful American landmark. Patrick's mastery and awareness of orchestral sounds and textures is jaw-dropping, pulling sounds out of his vast keyboard arsenal that are positively hypnotic! One of symphonic prog's finest moments I dare say!

"Gatecrasher/Ritt Mickley" shows off the bands funky and strangely humorous side. Beginning with studio chatter and heavily processed clavinet (this would've done Herbie Hancock's Headhunters proud) and a bizarre musique concrete' segment, Refugee charges in to a funky romp with gleeful abandon, Patrick and Brian especially sounding like they're having the time of their lives. How often is it you hear Hancock-esque funkiness drenched with mellotron and John Cage like interjections with slinkys and other unknown metallic objects?

And then, the epic to end all epics: "Credo". This piece goes all over the map, making references to Bach (the mad pipe organ section) Franz Lizst (the orchestral beginning with rippling piano) and even a Chick Corea-esque Rhodes solo towards the end, among other things. The only thing that mars this piece for me is the vocals, just so obnoxiously raspy and out of place in the music. Thankfully though, the rest is pure instrumental brilliance as the piece comes to a firey conclusion.

All throughout, Patrick Moraz really shines without being overbearing. His command and awareness of musical idioms and tonal colors is unbelievably vast. He has chops to match anyone's but unlike some of his contemporaries, chose instead to concentrate on melody and color, also making great use of open space in the music, as opposed to showing off how fast he could play. Brian and Lee provided tight support and I must say that Brian Davidson was really in top form here!

Sadly, the Refugee story came to an abrupt end when Patrick decided to join Yes when Rick Wakeman left. Brian and Lee, having been through a similar scenario with Keith Emerson dumping them for ELP, completely quit music altogether in disillusionment.

For anyone looking for a great example of how to do the keyboard trio thing right, Refugee is definitely your authoritative textbook, not to mention an exhilarating listen!!

12 of 12 people found the following review helpful:

5.0 out of 5 stars A Space In Time, October 24, 2007

By 

PHILIP S WOLF (SOUTH LAKE TAHOE, CA. USA) - See all my reviews
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This review is from: Refugee (Reis) (Audio CD)

The story of Refugee is unique. Two thirds of The Nice (Lee Jackson & Brian Davison} joined with a swiss, keyboard wizard by the name of Patrick Moraz to create a one of the finest of all progressive rock bands ever heard {at least it was heard by a few of us!}

I will not label this great band, the second coming of: The Nice, as that is not fair to these three wonderful musicans. But, I will say that along with "Trilogy" and "Close To The Edge", this record stands as one the very best records of the early seventies. Lot's of rude comments have been posted in regard to Lee Jackson's voice, and as he is not Jon Anderson or Greg Lake, he is very good here, {and miles above what he did with: The Nice}. But, I also like "Jackson Heights" as well, so cast your: "Stones of Years" if you must... BUT, I think he does well with his trademark: raspy-shouty-whisper!

The music presented here is epic, and only Keith Emerson, himself is in the same league as Patrick Moraz. "The Grand Canyon Suite" is a majestic bombast of sound with a melody that sounds like it was pinched years later for "The Simpon's Theme". "Papillion" was so named as The synth sounds at the beginning sound like butterfly wings. "Ritt Mickley" is an in-joke about Patrick's miss-use of english when trying to pronounce the word 'Rhythmically', and believe it or don't...it's funky.

"Credo", is another 'Epic' number and it roams into many moods, and for anyone who slights the drumming of Brian, needs to give this a listen, he is top-notch all throughout.

I do believe that Patrick, does at times come very close in imitating Keith's, phrasings & styles. But, Keith was by 1974 already a legend in my world and believe Patrick thought the same of his talents.

For me this is one of the great records of progressive rock, and I am glad to see it's release on CD at last. This is a brief moment from a time long ago, and it still sounds great.
FIVE STARS!!!

15 of 16 people found the following review helpful:

5.0 out of 5 stars Prog at its finest!, January 7, 2007

By 

S. Armeson "Sleeve51" (San Diego, Ca) - See all my reviews
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This review is from: Refugee (Reis) (Audio CD)

What can I say? I have been a Refugee fan since the fifth of forever. The saddest cut of all, is this is their only album. Patrick Moraz is definetly one of the finest (and most proficient) keyboardists on Earth. After Keith Emerson's hasty departure from The Nice, Moraz took over as his worthy replacement. With Lee Jackson (bass, cello, vocals) and Brian Davison (percussion), these three fly with precision beginning with Papillion and ending with Credo (The Lost Cause). One tune is hugely unforgettable (Someday). Lee's vocals are less than stellar, but he more than makes up for it, with his fine bass and cello playing.

I initially purchased this on vinyl when it first appeared, many years ago. When I first discovered that Time Wave had resurrected this excellent Charisma recording, I cried like a baby. Tears of grateful joy. With the assistance of Jean Ristori, Moraz and company make this one, top notch recording. "Gatecrasher" and "Ritt Mickley" are worth the price of admission alone. But don't stop there, the Grand Canyon Suite (not the same as Grofe's masterpiece) and Papillion will sweep you away in a sea of prog-ecstasy. If you are a fan of The Nice, buy this gem. It still sounds just as wonderful today as it did years ago.