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It all started with the desire to revive a mythical vintage instrument, the Moog synthesizer, which comes in several models: the Modular, the mini-Moog, the Polymoog, the Multimoog or the Prodigy. When he started his professional career in 1994, Thierry Maillard received a mini-Moog as a gift (offered by Pierre Papadiamantis) which he enjoyed practicing in addition to the piano. He then put it aside, although he continued to listen with a great deal of interest to the fascinating sounds that his heroes, Chick Corea, Herbie Hancock, or Joe Zawinul, were able to produce with the instrument.

His great joy was to rediscover, almost thirty years later, not only this instrument, but a range of about twenty electronic instruments (like a painter with his palette of colors) where each moog has its specificity and precise use, much like Herbie Hancock who surrounded himself with synthesizers at the time of the album "Sunlight" (1978). This reference associated with music from the late 70's is very important. At that time, one did not use loops, sequencers, or other digital loops. Everything was performed live and in analogue. It is this practice of the "live" performance that Thierry Maillard absolutely wanted to capture, without "cheating", without using. the process of re-recording and digital tools. A demanding and complex process which allows him to fully adapt to the scenic experience, where jazz musicians? are used to playing without a safety net, taking all possible risks.

The nostalgia for the late 70's and the beginning of the 80's is also reflected through a musical memory linked to a very strong emotion, when as a young teenager, Thierry Maillard discovered and bought with his pocket money the album "Breakfast in America" by the band Supertramp. The formidable melodies of the songs of this English pop group completely fascinated the budding young musician. A period when Supertamp used mostly Wurlitzer electric pianos, but not yet synthesizers.

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