Thierry Maillard - Moog Project (CD)

Release Date: 09/08/23

It all started with the desire to revive a mythical vintage instrument, the Moog synthesizer, which comes in several models: the Modular,

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. It is precisely for,