keyboardist began which involved about eight players, including Jean Roussel, Eddie Jobson, Nick Glennie-Smith of Wally, and Greek musician and composer Vangelis. Others were flown in from the US and Germany. Anderson had become a fan of Vangelis and visited his Paris flat when Yes were in town performing Tales from Topographic Oceans. Vangelis agreed to an audition, but Yes found he was non-committal to the role and too strong a personality for a group. Phil Carson, an Atlantic Records manager and associate of the band, said that Vangelis "tried out Yes but it didn't really gel ... Vangelis wouldn't get on a plane and wouldn't fly anywhere and Yes were about to go on tour." The possibility of Vangelis joining the band was also affected by a rejection from the Musicians Union. Soon after, Melody Maker reporter and band biographer Chris Welch suggested that the band try Patrick Moraz, a Swiss musician and film composer with a background in jazz and classical music, and a member of the progressive and jazz fusion trio Refugee. Less than a week later, Moraz accepted an invitation from Brian Lane, the band's manager, to an audition. Moraz was a fan of the band and had previously met them during their tour of Switzerland in 1969. Moraz auditioned with Yes during the first week of August 1974. He arrived at Farmyard Studios early and saw each member arrive in his own expensive car. He said: "Coming from Refugee, where we had been walking three miles to and from our rehearsal place ... it was quite a contrast!" Moraz auditioned with Vangelis's keyboards, which were still situated in the studio. After tuning up, he played some parts to display his ability, including a short section of "And You and I" from Close to the Edge (1972), causing the band to stop talking and gather around him. Moraz's first task was to devise a section to complement what they had written for the middle section of "Sound Chaser". The band liked what Moraz had played, and the following day, Lane informed him that Yes wished for him to join full-time. Moraz felt some pressure to deliver, and drove from his flat in Earl's Court, near central London to the studio each day to record. Recording Relayer was recorded at Squire's home named New Pipers in Virginia Water, Surrey, which he had purchased in Christmas 1972, and