“On his little instrument, here is undoubtedly a great one: Grégoire Maret, born in 1975, in Geneva, left in time from Switzerland, where a musician quickly drowns in comfort, even if his mother was born in Harlem and his father loves jazz passionately. Maret chose the harmonica because one day he heard Toots Thielemans, the absolute authority on the instrument. The idea came to him that this thing, this mouth music, could become what John Coltrane made of the tenor saxophone: a world. When he discovered Stevie Wonder and elected him as his mentor, he did not know that it was Stevie himself who played the harmonica on his records. In New York, where he settled, he convinced the New School that he could complete his studies on this toy. Without delay, it is the musicians that he convinces the most, from Jacky Terrasson to George Benson, from Pat Metheny to Herbie Hancock. All of them made him play with them. After more than sixty records as a sideman, he signs his first record, and we are transported into a world of warm, dark, enveloping sound, where the music of the day is transcended by a harmonic system whose secrets musicologists will one day explain to us. The prodigious melodist that he is takes us behind him, subjugated, as are the musicians he invites to thank them for having revealed him to himself: Cassandra Wilson, Toots Thielemans of course, Marcus Miller, Makoto Ozone.