After Aphrodite’s Child
Vangelis started his solo career and have since released a number of highly acclaimed electronic albums ,a series of collaboration with Jon Anderson from Yes, as “Jon & Vangelis” , and music for films and television, earning him an Academy Award for Best Original Score, for the 1981 British drama Chariots of Fire. Vangelis have become one of the early masters of electronic music.
Vangelis also made Music for the futuristic Ridley Scott film Blade Runner (1982). But for various reasons the original soundtrack release was delayed until 1994, despite the music being well-received by fans and critics. Today some think of this soundtrack as being Vangelis finest moment of electronic music.
The saxophone on the track was played by Dick Morrissey.
Richard Edwin “Dick” Morrissey (1940 – 2000) was a British jazz musician and composer. He played the tenor sax, soprano sax and flute. Playing in various Jazz bands and constellations, but mostly known for his British Jazz/rock, as a member of “If” (1969-1975), and later Morrissey- Mullen.
Here we have got his wonderful saxophone, in a more traditional Jazz setting.
Dick Morrissey was also part of – The Animals‘ Big Band, but they made only one public appearance at British Jazz & Blues Festival in Richmond 1965.
The Animals was an English music group , featuring the charismatic front man Eric Burdon. Best known for their version of American traditional “House of the Rising Sun”, the Animals had another major hit in early 60’s with “Don’t Let Me Be Misunderstood”. Originally written for Nina Simone, who first recorded it in 1964.
Nina Simone (1933 –2003) was an American singer, songwriter, pianist, arranger, and civil rights activist mostly associated with jazz music. She began recording in the late 1950s releasing her first full album in 1958, Simone’s music defied standard genre definitions. Her classical training showed through, no matter what genre of song she played, and she drew from many sources including gospel, pop and folk. She was called the “High Priestess of Soul,” or “jazz singer”. But she did not like any of those labels : “If I had to be called something, it should have been a folk singer because there was more folk and blues than jazz in my playing,” she wrote.